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Zeno Media, the global streaming and podcast infrastructure company serving diaspora communities in over 100 countries, is pleased to announce the appointment of industry veteran Mike McVay as a strategic advisor. McVay will work closely with Zeno’s leadership team to sharpen content strategy, strengthen programming innovation, and help scale the company’s audio business across traditional, digital, and streaming platforms.

With more than five decades of experience in broadcast programming, syndication, and digital audio, McVay brings a combination of creative vision and operational expertise. His firm, McVay Media, has helped build nationally syndicated programs, launch major talent, and establish programming brands internationally.

“We’re thrilled to have Mike McVay advising Zeno Media during this next phase of growth,” said Morris Berger, CEO of Zeno Media. “His network, knowledge and experience in the radio and audio industry is truly unparalleled. It will be an honor to work with a legend and understand our ecosystem in a whole new light.”

Zeno Media connects broadcasters, creators, and brands worldwide with robust streaming and podcasting solutions. With McVay’s guidance, Zeno will expand its programming footprint, deepen monetization frameworks, and deliver content that resonates across diverse cultural and linguistic audiences.

“I’m excited to become a part of the Zeno team at such a pivotal moment in audio,” McVay said. “The company’s global reach, focus on underserved communities, and commitment to creator-driven innovation position it as a new force in the field.”

About Zeno Media

Founded in 2012, Zeno Media connects diaspora communities with their favourite audio content. A trusted global audio partner servicing broadcasters in over 100 countries, Zeno Media reaches more than 40 million listeners through its owned and operated partnerships. From streaming and podcasting to monetization and worldwide distribution, Zeno Media partners with audio companies of all sizes to provide solutions that achieve their goals. For more information, visit www.zenomedia.com.

About Mike McVay / McVay Media
Mike McVay is the president of McVay Media, a full-service consulting firm specializing in broadcast and digital strategy, network programming, and talent coaching. He has worked with global audio brands and major talent across the U.S., Canada, Mexico, Australia, and New Zealand. McVay was recently inducted into the National Radio Hall of Fame. McVay Media

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🎙️Today, we've got the inside scoop on: 

• The Billion Dollar Measurement Problem

• Acast’s 41% Growth Shows What’s Possible When You Actually Execute

• The Slow Death of Free Streaming Music

• The $10-49 Sweet Spot: What Free Podcasts Tell Us About the Industry

• Bonus: TV/Film Podcasts: The Gateway Drug We’re Not Using Enough

• Elsewhere: Audacy announces strategic partnership with NBA superstar Draymond Green.

• Podwires Job Board : Spotify - Associate Manager, Creative Operations

The Billion Dollar Measurement Problem

The Podwires Rundown : Here’s a fun fact: the podcasting industry is leaving a billion dollars on the table. Not because brands don’t want to spend it. Not because the content isn’t there. But because we can’t measure things consistently.

Oxford Road just dropped their “What Brands Want 2025” report, and it’s a wake-up call. They surveyed the people who actually write the checks – including six of the top 10 podcast advertisers, representing roughly 15% of total U.S. podcast ad spend. And what did these brands say? Fix measurement, and we’ll spend more. A lot more.

The kicker: 76% of brands would increase podcast investment if YouTube podcast attribution matched what’s available for audio. Nearly a quarter would boost spending by 50% or more. Do the math. That’s roughly a billion dollars in additional spend just sitting there, waiting for the industry to get its act together. Dan Granger, CEO of Oxford Road, put it plainly: “If the industry can deliver on measurement, advertisers have signaled they are ready to scale their investment.”

The Key Points:

• Measurement is the #1 barrier to growth – 50% of respondents cite limitations in performance data as the main constraint on podcast ad spend

• YouTube attribution gap costs the industry dearly – 76% of brands would increase investment if YouTube podcast attribution matched audio podcast attribution

• Potential billion-dollar unlock – Nearly 25% of advertisers willing to grow spend by 50%+ suggests up to $1B in additional revenue available with standardized video attribution

• AI host reads face trust issues – Brands remain skeptical without stronger disclosure and industry standards

• Rising ad clutter concerns – Respondents increasingly worried about oversaturation threatening ad effectiveness

The Big Picture: For podcasters and producers, this report should be required reading. The good news: brands want to spend more money in podcasting. The bad news: you can’t access that money until the industry solves attribution. Practically, this means a few things. First, if you’re creating video podcasts on YouTube, understand that advertisers see that inventory differently than your RSS feed – and not in a good way. They can’t measure it consistently, so they discount it or skip it entirely.

Second, the rise of programmatic is accelerating. That means more automated buying, which requires better measurement standards. Get ahead of this by ensuring your shows work with measurement partners and attribution tools. Third, the report confirms brands are nervous about AI-generated host reads without proper disclosure. If you’re experimenting with AI, transparency isn’t optional – it’s essential for maintaining advertiser trust. The industry isn’t short on content or creativity. We’re short on trust, transparency, and accountability in measurement. Fix that, and the money follows. The Oxford Road report proves brands are ready. The question is whether podcasting can deliver the measurement infrastructure fast enough to capture it.

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Acast’s 41% Growth Shows What’s Possible When You Actually Execute

The Podwires Rundown: While the podcasting industry spends a lot of time wringing its hands about measurement problems and platform fragmentation, Acast just quietly posted 41% organic growth in Q3 2025. Not total growth – organic growth. The kind that comes from actually running a business well.

Here’s what matters: their Average Revenue Per Listen jumped 33% to SEK 0.58 (about $0.06 USD). That’s not audience growth driving revenue. That’s monetization improvement. CEO Greg Glenday and team aren’t just adding listens – they’re making each listen worth more. North America led the charge with 58% net sales growth, while Europe added 27%. And they’re not burning cash to get there. EBITDA margin hit 6%, up from 3% last year.

But the real story is their updated financial targets. Acast is now publicly committing to 10% EBIT margin by 2028, with organic sales growth exceeding 15% annually through that period. Glenday’s framing it as “a milestone, not the final destination.” Translation: we’re just getting started. They’re also bringing on Anders Hägg as CFO in January 2026 to help execute this next phase. This is what confidence looks like.

The Key Points:

• Explosive organic growth continues – 41% organic net sales growth and 35% total revenue growth in Q3 2025, reaching SEK 642.1m (USD 67.4m)

• Monetization improving faster than audience – Average Revenue Per Listen increased 33% to SEK 0.58 while listens grew only 1%, showing pricing power and efficiency gains

• North American expansion accelerating – 58% net sales increase in North America led regional growth, with Europe contributing 27%

• Profitability targets raised – New financial framework targets 10% EBIT margin by 2028 and organic sales CAGR exceeding 15% through 2025-2028

• Strategic partnerships expanding reach – New collaboration with Magnite brings Acast’s 1 billion quarterly listens to wider programmatic demand sources

The Big Picture : For podcasters, Acast’s performance demonstrates that premium monetization is achievable at scale. If you’re working with networks or platforms, these numbers should inform your conversations about revenue share and performance expectations. The 33% jump in ARPL suggests there’s real money available for quality inventory – but you need to be working with partners who have the sales infrastructure and advertiser relationships to capture it.

For producers, the operational story matters more than the revenue headline. Acast improved EBITDA margin by 3 percentage points while growing operating expenses only 19% against 35% revenue growth. That’s operational leverage, and it comes from disciplined resource allocation – they’re investing in sales and marketing, not just content production costs. Learn from this: growth without operational discipline is just expensive. Their partnership with Magnite also signals where the puck is going – programmatic podcast advertising is accelerating, and producers need to ensure their shows are technically capable of serving programmatically sold ads.

For the industry, Acast’s trajectory proves that global scale matters in podcasting. Their strength in UK and Nordics combined with growth potential in US and Continental Europe creates geographic diversification that smaller players can’t match. The updated financial targets aren’t just corporate goals – they’re a benchmark for where the industry needs to head. If Acast can hit 10% EBIT margins, other major players have no excuse for continued unprofitability. The market is there. The question is execution.

Full report available at: https://investors.acast.com/investors/reports

The Slow Death of Free Streaming Music

The Podwires Rundown : Remember when “free” was the killer feature? When Spotify’s whole value proposition was that you could listen to anything without paying, you just had to tolerate some ads?

Those days are over.

Edison Research’s Share of Ear data tells a story that snuck up on the industry. In 2015, 78% of streaming music time was spent on free platforms. Americans tolerated the ads because, well, it was free. But something changed. Starting in 2017, that percentage started sliding. By 2020, paid streaming music time surpassed free for the first time. And now, in 2025, the split is 66% paid to 34% free.

That’s not a marginal shift. That’s a complete reversal in how Americans consume streaming music. Two-thirds of streaming music listening now happens on paid platforms. The free-with-ads model isn’t dead, but it’s been relegated to minority status in just a decade.

Why does this matter for podcasting? Because we’re walking the same path, just a few years behind. YouTube is training podcast audiences to expect visual content. Spotify is training them to expect seamless cross-platform experiences. And both are demonstrating that consumers will pay for premium experiences if the value is there. The question isn’t whether podcasting will follow music’s trajectory from free-to-paid. The question is how fast, and whether open podcasting can compete when it happens.

The Key Points:

• Free streaming dominance has reversed – In 2015, 78% of streaming music time was free; by 2025, 66% is now paid subscription services

• Tipping point occurred in 2020 – First year paid streaming music time surpassed free, marking a fundamental shift in consumer behavior

• Consistent trend across platforms – All major providers (Spotify, iHeart, YouTube Music, Amazon, Pandora) now offer both tiers, with paid gaining share

• Ad tolerance declining – Americans increasingly unwilling to tolerate advertisements in audio listening experiences

• Subscription services normalized – Competitive pricing and prevalence of subscriptions in other media made paid audio mainstream

The Big Picture : For podcasters, the Share of Ear data suggests your audience’s relationship with ads is changing underneath you. They’re increasingly willing to pay for ad-free experiences in other audio contexts. If you’re building a podcast solely on the ad-supported model, understand that you’re swimming against a tide that’s been shifting for nearly a decade. This doesn’t mean ads are dead in podcasting – far from it. But it does mean diversification matters. Consider what premium, subscriber-only content might look like for your show.

For producers, the music industry’s migration to paid streaming offers a blueprint. Competitive pricing worked – consumers didn’t need to pay $15/month for every service. They picked one or two and paid reasonable rates. The podcast industry needs to learn from this. If you’re building subscription offerings, pricing discipline matters. Don’t overprice your way out of the market before it develops. Also, note that all major platforms maintained both free and paid tiers. The answer wasn’t abandoning one model for another – it was serving both audiences while making the paid experience compelling enough to convert free users over time.

For the industry, this data should inform strategic planning around monetization. We spend enormous energy optimizing ad loads, fighting about dynamic ad insertion, and debating programmatic versus host-read ads. Meanwhile, the audio audience is demonstrating that they’ll increasingly pay to avoid ads altogether. The podcasting industry needs to develop robust, user-friendly subscription infrastructure before platform giants build it for us. Because if music’s trajectory is any indication, the audience is ready. The question is whether podcasting’s infrastructure will be.

The $10-49 Sweet Spot: What Free Podcasts Tell Us About the Industry

The Podwires Rundown:The Podcast Host just released survey data that should make the industry uncomfortable. 17% of independent podcasters run their shows on exactly zero dollars per month. They’re not spending money – just time.

That’s not a small number. Nearly one in five indie podcasters has figured out how to produce content without spending anything. And here’s the kicker: 71% of them say they’re achieving at least some of their podcast goals. Before you start thinking this proves podcasting doesn’t need investment, let’s look at what those goals actually are and what “success” means when you’re not spending money.

The data from Katie Paterson and The Podcast Host team reveals something we all suspected but rarely say out loud: you can run a podcast on no budget, but only a specific kind of podcast. It’s likely a solo show (53% of free podcasts are). It’s probably driven by altruistic goals like “supporting others” or “personal enjoyment” rather than revenue. And critically, 68% of these shows get under 50 downloads per episode in the first week. There’s nothing wrong with that number – but it’s also not building a business or reaching meaningful scale.

The Key Points:

• 17% of indie podcasters spend zero dollars monthly – They invest time rather than money, with 65% getting no help running their shows

• Free podcasts face growth limitations – 68% of zero-budget shows get under 50 downloads per episode in first week, compared to just 24% of shows spending $100+

• Goals differ by spending level – Free podcasters prioritize support, enjoyment, and awareness; revenue-focused creators spend more monthly on production

• Financial investment correlates with sustainability – 44% of free podcasts are less than a year old; only 22% of shows spending $50+ are that new

• The $10-49 bracket is most popular – 40% of survey respondents spend in this range, representing a “sweet spot” for accountability without breaking the bank

The Big Picture: For podcasters, this survey is a reality check. If you’re running a free show and wondering why growth is slow, the answer is in the data. Free shows are harder to grow, harder to sustain, and less likely to generate revenue. That doesn’t mean you need to immediately start spending money, but it does mean you should be honest about your goals. If you want a hobby that reaches a few dozen people, free podcasting works. If you want to build an audience at scale or generate revenue, you need to invest. The sweet spot appears to be $10-49 monthly – enough to access better tools and hold yourself accountable without breaking the bank.

For producers, this data should inform how you talk to clients about budgets. When someone says they want to “start a podcast,” the conversation needs to immediately shift to goals. Are they building a brand? Supporting a business? Creating a revenue stream? Each requires different investment levels. The survey shows that 79% of new creators prefer investing time over money, but the data also shows that time-only investment produces limited results. Your job is helping clients understand that trade-off upfront rather than letting them discover it six months in when they’re frustrated by lack of growth.

For the industry, these numbers reveal our biggest weakness: we’ve made podcasting too easy to start and too hard to succeed at. 85% of survey respondents don’t make money from their podcasts. That’s not a sustainable ecosystem. The $10-49 sweet spot suggests there’s a middle path – affordable investment that increases likelihood of success without requiring professional production budgets. The industry should focus on building tools and services at this price point rather than continuing to celebrate how “anyone can podcast” without acknowledging that “anyone can succeed” requires more than a microphone and an idea.

Full Independent Podcaster Survey report available soon at: https://www.thepodcasthost.com

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Bonus : TV/Film Podcasts: The Gateway Drug We’re Not Using Enough

The Podwires Rundown: Sounds Profitable just released research on TV and Film podcasts that should change how we think about audience development. Not because it reveals some shocking new behavior, but because it proves something we suspected but rarely act on: companion content works.

Here are the numbers that matter. Among TV/Film podcast consumers, 44% have talked to friends about a TV show after consuming a podcast about it. 43% rewatched the show. 16% purchased a streaming subscription to watch the show. That’s not passive consumption. That’s evangelism. And we’re leaving it on the table.

The study, conducted with Signal Hill Insights and sponsored by True Companions, surveyed 5,034 Americans 18+ in June 2025 – the largest public study of podcasting in America. While TV/Film podcasts currently reach 19% of monthly podcast consumers, the potential audience is dramatically larger. Over 50% of Americans 18+ say they’d be interested in this kind of content. That gap between current and potential audience? That’s opportunity.

The Key Points:

• TV/Film podcasts reach 19% of monthly podcast consumers – But 53% of Americans say they’d be likely to listen to a podcast about a favorite TV show or movie

• Audience skews male and young – 56% male (vs 49% general population) and 43% ages 18-34 (vs 29% general population), revealing untapped potential among women and older demographics

• Audio expectations remain strong – TV/Film podcast consumers expect podcasts to be audio or usually audio at the same rate as general podcast consumers; video isn’t required to reach this audience

• High propensity for action – 16% purchased streaming subscriptions to watch shows after consuming related podcasts; 44% talked to friends about the show

• Evangelists for podcasting – 79% of TV/Film podcast consumers recommend podcasts to their social circle (vs 68% of general podcast consumers)

The Big Picture: For podcasters, this data suggests TV/Film content is one of the few guaranteed ways to reach people who don’t currently consume podcasts. Over 50% of Americans express interest in this genre, but only 19% of monthly podcast consumers actually listen to it. That’s a massive addressable audience. If you’re trying to grow a show, companion content to existing TV/Film franchises provides built-in audience interest. The research also shows this audience is significantly more likely to consume limited series and look for more shows when those series finish – creating a natural pipeline for podcasters who can deliver quality episodic content tied to streaming releases.

For producers, the strategic opportunity is clear: TV/Film podcasts are gateway content. The audience they attract becomes evangelists (79% recommend podcasts to their social circle). They’re also more likely to watch premium streaming content, both with and without ads. If you’re working with streaming platforms or entertainment brands, this research should be your pitch deck. The data proves companion podcasts drive subscription purchases, increase engagement with original content, and create word-of-mouth marketing. The production workflow is also more defined than traditional podcasts – you have natural episode breaks, built-in talking points from source material, and existing fan communities to tap into.

For the industry, there’s a glaring demographic opportunity. The current TV/Film podcast audience skews heavily male (56%) and young (43% are 18-34). But women are the majority of moviegoers in the US, and people 55+ are overwhelmingly the audience for network and cable TV. We’re making content for the wrong audience while ignoring the people who actually consume the most TV and film. The research also debunks the assumption that TV/Film content requires video – this audience expects audio at the same rate as general podcast consumers. Stop using video as an excuse for not creating companion content.

MORE FROM PODWIRES:

🎙️ EVERYTHING ELSE IN PODCASTING TODAY

• How to Grow Your Podcast Using Your Back Catalog: Automated Content Repurposing Guide. Podcasters can revive audience growth by repurposing their back catalog of old episodes into clips, transcripts, and social media content using automated tools that improve discoverability and engagement across platforms.

• Audacy announces strategic partnership with NBA superstar Draymond Green. Audacy has partnered with four-time NBA champion Draymond Green and his production company The New Media to manage sales, distribution, and production for “The Draymond Green Show” podcast, which launches its new season October 28, 2025 with twice-weekly episodes featuring basketball analysis and exclusive sports commentary.

• fwd. Network Launches Talk Fifty to Me Podcast with Heidi Clements and Constance Zimmer on Aging. AdLarge and the fwd. network have launched “Talk Fifty to Me,” a new podcast hosted by television writer Heidi Clements and actor Constance Zimmer that explores life in your 50s through honest conversations about aging, menopause, reinvention, and women’s empowerment with celebrity guests including Elizabeth Banks and Ricki Lake.

• YouTube Offers Voluntary Employee Buyouts as CEO Restructures Product Division Amid AI Disruption. YouTube CEO Neal Mohan announced voluntary employee buyouts with severance packages and restructured the video platform’s product division into three groups—subscription products, viewer products, and creator products—citing artificial intelligence disruption as the driving force behind organizational changes.

• Patreon Launches Enhanced Newsletter Tools with Analytics and Custom Branding for Content Creators. Patreon has upgraded its newsletter system with new features allowing creators to embed multiple videos and audio clips, add custom call-to-action buttons, and track email performance through analytics showing open rates, clicks, and revenue generated from each post.

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AdLarge and the fwd. network, the female-first podcast platform dedicated to elevating women’s voices, proudly announce the launch of Talk Fifty to Me, a dynamic new podcast hosted by television writer and pro-aging influencer Heidi Clements and award-winning actor and director Constance Zimmer. The series is produced by Alex Beattie, a seasoned producer known for developing authentic, voice-driven content across television, film, and streaming platforms.

With its tagline “Reframing the narrative around aging, one episode at a time,” Talk Fifty to Me explores life in your 50s with honesty, humor, and insight. Each week, Heidi and Constance tackle cultural myths, celebrate reinvention, and spotlight the joys and challenges of being a woman in your 50s.

“I felt invisible when I hit 50 and now at 65 I know it’s because no one was listening to me - we are listening now,” said Heidi Clements. “We want all women to feel seen, heard and celebrate the joy of aging.”

With 23 episodes planned in its first season, the series blends candid host conversations, guest interviews, and audience engagement through social media. Listeners can expect thought-provoking discussions on everything from menopause and midlife pivots to dating and sex, giving advice to the next generation of women discovering radical self love and redefining the second half of your life. Talk Fifty to Me offers personal insights and authentic conversations that resonate across generations, inspiring women in their 20s, 30s, 40s, and beyond to embrace aging as empowerment rather than limitation. Guests include; Elizabeth Banks, Angela Kinsey, Yvette Nicole Brown, Teri Hatcher, Sherri Saum, Stacy London, Mally Roncal,Tracie Thorns, Nicole Eggert, Ricki Lake, Merrin Dungey, Margaret Cho, Rachael Harris, Kimberly Williams-Paisley, Paulina Porizkova, and more.

Heidi Clements brings her sharp wit and massive social media following of 1.8 million to the mic, while Constance Zimmer, known for portraying strong women on Entourage, UnREAL, House of Cards, and more, adds her fearless voice to the conversation. Together, they create a chemistry that’s equal parts relatable and empowering, with plenty of laugh-out-loud moments and the occasional tear.

“Talk Fifty to Me is about dismantling outdated narratives and showing women that this stage of life can be powerful, creative, and deeply fulfilling,” said Constance Zimmer.

“We are thrilled to welcome Talk Fifty to Me to the fwd. network,” said Cathy Csukas, CEO of AdLarge and the fwd. network. “Heidi and Constance bring a bold, refreshing perspective to conversations around aging, and their voices perfectly embody our mission to amplify female-driven stories that inspire, challenge, and connect.”

The launch of Talk Fifty to Me cements the fwd. network as the definitive home for women-led storytelling in podcasting, where women lead the conversation. It expands a slate of bold, original shows that amplify female voices, challenge outdated narratives, and set the standard for authentic, women-driven audio. Real voices. Real impact. Real brand trust.

Talk Fifty to Me is available wherever you listen to podcasts.

About the fwd. network and AdLargethe fwd. network where women lead the conversation. Real voices. Real impact. Real brand trust.A multi-channel creator platform and podcast network, fwd. amplifies female voices while connecting engaged audiences with brands at scale. It provides creators with community, advertisers with premium access, and audiences with meaningful stories that inspire connection and impact.

fwd. is powered by AdLarge, a recognized leader in audio advertising with nearly 15 years of industry innovation. AdLarge’s global portfolio reaches more than 200 million listeners and is supported by a team of experts in podcasting, radio, and streaming. From Fortune 500 companies to emerging direct-to-consumer brands, AdLarge delivers measurable results while fwd. ensures women’s perspectives are heard, celebrated, and elevated. Learn more at thefwd.network.

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Catch up on some of Podwires’s recent stories:

Audacy today announced a strategic partnership with four-time NBA champion, four-time NBA All-Star, nine-time NBA All-Defensive Team, NBA Defensive Player of the Year, and two-time Olympic gold medalist Draymond Green, and his media and production company, The New Media, to handle sales, distribution, and production for his popular podcast “The Draymond Green Show.”

“The Draymond Green Show” will launch a new season on October 28, 2025, and will be available on YouTube and everywhere podcasts are available. New episodes will be released twice weekly. Follow and listen to the show here. Listen to the new season trailer here and watch the video trailer here.

On “The Draymond Green Show,” Green delivers his no-holds-barred takes on the biggest stories in basketball, breaks down the latest with the Golden State Warriors, shares never-before-heard stories from on and off the court, and tackles of-the-moment topics beyond the world of sports. It’s the most raw and entertaining podcast in the game.

In addition to the familiar “Dub Nation” segment covering the latest Warriors games, inside takes and Green’s elite guest interviews, “The Draymond Green Show” will also feature new segments, such as “Around the Association,” where Green will share his thoughts on big games, performances, and news from around the league; “Check the Tape,” where Green will offer his expert analysis and break down the biggest, most important, most viral, or most interesting plays of the week; and “Red Light, Green Light,” with Green giving his blunt opinions on trending news and moments.

“The fresh look and feel of the podcast comes at the perfect time,” said Green. “There is so much going on in basketball, but also very interesting topics outside the game that I’m excited to cover. Audacy’s team helps elevate the podcast, and I can’t wait.”

“Draymond Green is one of the most dynamic and unfiltered voices in sports. His authenticity and influence resonate across fan communities, and we’re beyond excited to welcome his show to our network,” said Leah Reis-Dennis, Head of Podcasts, Audacy. “Bringing Draymond into our lineup strengthens Audacy’s position as a leader in sports storytelling and analysis and expands the powerful platform we offer to advertisers looking to reach devoted sports fans.”

Audacy’s 95.7 The Game (KGMZ-FM) in San Francisco is the official flagship radio home for the Golden State Warriors and the Golden State Valkyries.

Follow Green on X @Money23Green and Instagram @Money23Green. Follow “The Draymond Green Show” on Instagram @DraymondShow and YouTube @DraymondGreenShow.

About Audacy Sports

Audacy’s industry-leading sports radio portfolio includes 40 owned-and-operated sports stations, 160 sports streaming channels on the Audacy app, a leading sports podcast network featuring over 600 titles, and the flagship play-by-play home to over 50 professional and collegiate teams.

Audacy is the official audio and podcast partner of Major League Baseball. Audacy sports video content can also be found on YouTube, CBS Sports Network, SNY, Stadium, Monumental Sports, CHSN, Twitch, and other platforms.

About Draymond Green

Draymond Green is a professional basketball player with the Golden State Warriors. He is a 4-Time NBA Champion, 4-Time NBA All-Star, 9-Time All-NBA Defensive Team Member, NBA Defensive Player of the Year, and 2-Time Olympic Gold Medalist. Draymond is also the founder of media production company, The New Media. His further entertainment presence includes his role as a basketball analyst (the first active NBA player to sign a multi-year contract with TNT’s “Inside the NBA,” the Emmy Award-winning basketball show). His podcast, “The Draymond Green Show,” has won the Webby for Best Live Podcast Recording, the Webby People’s Voice Award, and the iHeart Sports Podcast of the Year. Draymond is also the co-host of the football podcast “Why is Draymond Green Talking About Football?” with Jordan Schultz,” where they break down NFL games, make predictions, and interview top players. He is a hands-on Executive Producer in the podcast and television spaces. Draymond can also be found in commercials, acting roles, and unscripted television, with more on the near horizon.

About The New Media

Founded by Draymond Green, The New Media develops, produces, and shares content through the lens and voice of the athlete and the entertainer. Authenticity is the foundation of The New Media. The company teams up with the industry’s top talent and premiere production companies to create content across the media landscape, including projects in film, television, podcasts, and more. Recent accolades for The New Media include the Webby People’s Voice Award, the Webby Award for Best Live Podcast Recording, and the iHeart Sports Podcast of the Year Award. Dana Hooper serves as CEO of The New Media.

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NBCUniversal today announced that iHeartMedia will once again serve as its exclusive audio partner for the upcoming Milan Cortina 2026 Olympic Winter Games from February 6 to February 22. As part of the agreement, iHeartRadio will provide 24/7 play-by-play audio channels of NBCUniversal’s linear coverage of the Games; premiere a new Winter Games season of the original iHeartPodcast “Two Guys, Five Rings” hosted by Bowen Yang and Matt Rogers; produce Olympic-specific episodes from some of iHeart’s top podcasts; and promote tune-in for NBCU’s comprehensive coverage.

“Coming off the tremendous success we had in Paris, we’re excited to renew this partnership with iHeartMedia and provide fans with the best Olympic audio content,” said Aileen Sokol, VP, Content Partnership Development, NBC Sports. “From podcasts featuring stars Bowen Yang and Matt Rogers, to daily coverage of all our linear programming, this partnership allows iHeart’s extensive audio audience to hear NBCU’s Olympic coverage away from their televisions and screens.”

iHeart’s play-by-play channels will bring fans closer to the excitement of every gold-medal finish and triumphant moment set to come from NBCU’s wide-ranging coverage of the Winter Games in Italy -- with a special focus on Team USA. NBCUniversal’s coverage on iHeart’s channels is expected to include U.S. team ice hockey games, as well as figure skating, speed skating, skiing, snowboarding and much more.

“We’re eager to build upon our relationship with NBCUniversal and once again deliver premium audio coverage of the Olympic Games, this time focusing on the awe-inspiring athletes and incredible stories set to come from the 2026 Olympic Winter Games,” said Michael Biondo, President of Business Development and Strategic Partnerships for iHeartMedia. “As the leading destination for sports audio, we’re excited to deepen the connection between audiences and the athletes they love.”

In addition to iHeart’s extensive play-by-play coverage, Saturday Night Live and “Wicked: For Good’s” Bowen Yang and actor-comedian Matt Rogers (“No Good Deed” and “Good Fortune”) return to host a new season of their Olympic-focused original iHeartPodcast “Two Guys, Five Rings: Matt, Bowen & The Olympics.” The podcast is set to launch weekly episodes in early January, stretching from before the Olympic Opening Ceremony and continuing through the Closing Ceremony in February. Listen here for Matt and Bowen’s season one look ahead to the Milan Cortina 2026 Olympic Winter Games.

iHeartPodcasts will also produce Olympic-themed episodes for some of its most popular podcasts, including “Stuff You Missed in History Class,” “Ridiculous History,” “Dudes on Dudes with Gronk and Jules” and “Revisionist History” with Malcolm Gladwell. These shows are distributed by iHeartPodcasts and available on the iHeartRadio app and everywhere podcasts are heard.

With unique and unforgettable backdrops throughout northern Italy, the 2026 Olympic Winter Games will span from Milan to Cortina with events taking place across multiple venues and regions. This will be the second time the Olympics are held in Cortina (1956 Olympic Winter Games) and the fourth time overall that Italy has hosted an Olympic Games (1960 Rome Olympics and 2006 Olympic Winter Games in Torino, which is the last time there was a Winter Games in the Central European Time Zone).

In February 2025, NBCU announced that the NBC broadcast network and streaming service Peacock will be the company’s primary platforms for its coverage of the 2026 Milan Cortina Olympic Winter Games, scheduled for Feb. 6-22, 2026. Click here for more programming information and here for information about the Paralympics, which will take place March 6-15, 2026.

NBCUniversal owns the U.S. media rights to the Olympic Games through 2036, which are scheduled for Milan Cortina (2026), Los Angeles (2028), French Alps (2030), Brisbane (2032), Salt Lake City (2034), and the 2036 Summer Games.

About NBCUniversal

NBCUniversal is one of the world’s leading media and entertainment companies. We create world-class content, which we distribute across our portfolio of film, television, and streaming, and bring to life through our theme parks and consumer experiences. We own and operate leading entertainment and news brands, including NBC, NBC News, MSNBC, CNBC, NBC Sports, Telemundo, NBC Local Stations, Bravo, USA Network, and Peacock, our premium ad-supported streaming service. We produce and distribute premier filmed entertainment and programming through Universal Filmed Entertainment Group and Universal Studio Group, and have world-renowned theme parks and attractions through Universal Destinations & Experiences. NBCUniversal is a subsidiary of Comcast Corporation. Visit www.nbcuniversal.com for more information.

About iHeartMedia

iHeartMedia, Inc. [Nasdaq: IHRT] is the leading audio media company in America, with nine out of ten Americans listening to iHeart broadcast radio in every month. iHeart’s broadcast radio assets alone have a larger audience in the U.S. than any other media outlet; twice the size of the next largest broadcast radio company; and over four times the ad-enabled audience of the largest digital only audio service. iHeart is the largest podcast publisher according to Podtrac, with more downloads than the next two podcast publishers combined, has the most recognizable live events across all genres of music, has the number one social footprint among audio players, with five times more followers than the next audio media brand, and is the only fully integrated audio ad tech solution across broadcast, streaming and podcasts. The company continues to leverage its strong audience connection and unparalleled consumer reach to build new platforms, products and services. Visit iHeartMedia.com for more company information.

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Ankler Media, the leading independent media company covering the entertainment industry, today announced the relaunch of its flagship podcast, The Ankler podcast, as “Ankler Agenda with Elaine Low.” Low, author of the company’s popular “Series Business” newsletter, will be joined weekly by her Ankler colleagues Sean McNulty and Natalie Jarvey in addition to a variety of expert guests, as she breaks down the headlines, trends and creativity shaping the evolution of Hollywood, the creator economy and entertainment.

Listen to the trailer for “Ankler Agenda with Elaine Low” and subscribe on Apple Podcasts, Spotify, and all major podcast platforms. Video episodes will be released each week on YouTube and on our website.

Jarvey’s “Like & Subscribe” newsletter will host monthly Substack Live video interviews, which will also be heard in “Ankler Agenda’s” feeds, as will frequent 1:1 Q&As hosted by Low with studio and network executives, TV and film creatives, and other business and entertainment authors and journalists.

Sean McNulty’s essential daily morning newsletter is expanding into audio as “The Wakeup P.M.”, rolling out new episodes later this fall. The lineup will include an on-demand version of “Monday Morning Quarterbacks,” McNulty’s popular Substack Live show with Richard Rushfield where they take on the major entertainment headlines of the day.

Says Low:

“The Ankler already is essential reading in the entertainment community. Now I’m excited to lead the conversation in more formats as the industry undergoes an enormous transition. I’m also thrilled to have my smart and witty colleagues join me at the mic, and I’m looking forward to hitting that sweet spot of information and fun every week.”

Says McNulty:

“A lot of our readers start their mornings with The Wakeup, so adding an afternoon audio episode that captures the ‘of the moment’ nature of the newsletter felt like a natural next step. All ideas on how to do gifs in podcast form are welcome!”

The launch of “Ankler Agenda with Elaine Low” follows the successful summer evolution of the “Prestige Junkie” podcast hosted by Katey Rich, Ankler Media’s weekly series focused on the TV and film awards races. This past July, the podcast launched a paid tier, Prestige Junkie After Party, offering listeners special membership exclusives bringing them further behind the scenes with Katey Rich and deputy editor Christopher Rosen as they give their uncensored thoughts during awards season and from film festivals.

Ankler Media’s podcast expansion is led by Shana Naomi Krochmal, ADWEEK Audio Awards’ 2024 podcast executive of the year, who was previously head of digital at Entertainment Weekly. “Ankler Agenda with Elaine Low” is produced by Carly Usdin, award-winning creative and director.

Ankler Media’s growing podcast slate includes:

• “Ankler Agenda with Elaine Low” (weekly every Thursday) — In this flagship weekly series, host Elaine Low brings our newsroom’s unique point of view on coverage of the entertainment industry to life through audio and video. Low breaks down the latest business headlines, trends and creative shakeups shaping the future of the industry with co-hosts Natalie Jarvey and Sean McNulty. “Ankler Agenda” episodes will feature lively debates and industry forecasts informed by The Ankler reporters’ insider knowledge of Hollywood, with an emphasis on the surging creator economy and the cultural conversations dominating Hollywood today.

• “The Wakeup P.M.” (launching later this year) — The audio version of Sean McNulty’s must-read daily morning newsletter will premiere new content multiple times per week, including an on-demand version of the popular Monday Morning Quarterbacks that McNulty hosts alongside Richard Rushfield on Substack Live.

• “Prestige Junkie” (Weekly every Tuesday) — Ankler Media’s awards editor Katey Rich leads lively discussions on major film and television awards, exploring the strategy and business maneuvering that drives the races through conversation with contenders and major players. Ankler deputy editor Christopher Rosen joins Rich for subscriber-only video in the “Prestige Junkie After Party” feed every Friday along with other special guests.

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Triton Digital, the global technology and services provider to the digital audio, podcast, and broadcast radio industries, today announced the launch of a next-generation AdBuilder AI, a self-serve platform designed to help partners expand their revenue footprint by unlocking access to a new segment of advertisers: small and mid-sized businesses.

AdBuilder AI empowers Triton’s partners to tap into a new lane of demand, including high-volume, low-touch buyers, without increasing headcount or diverting focus from major accounts. It provides each partner with a fully branded, white-labeled marketplace where advertisers can create, book, and pay for campaigns independently.

“AdBuilder AI helps partners capture a new wave of emerging advertisers with minimal operational lift,” said Amber Hunsaker, Director, Product Management, Triton Digital. “It streamlines the entire workflow, creative, trafficking, and billing. Our partners can grow revenue from a historically hard-to-serve tier without changing how they operate.”

Built specifically for businesses with limited media experience, AdBuilder AI streamlines every stage of the buying process. With just a brief description, advertisers can generate broadcast-quality audio ads in seconds using AI-generated voice, multilingual support, and sound design. No lengthy approvals. No production delays.

On the back end, AdBuilder AI integrates directly with the Triton Ad Platform (TAP) – giving partners centralized visibility and control across campaigns, inventory, and creative. Partners retain full oversight of pricing, pacing, and approvals while letting the platform handle creative production, scheduling, and fulfillment.

Each AdBuilder AI instance is customized to reflect the partner’s brand. Logo, domain, language, currency, pricing rules, and targeting templates are all configurable. That makes it easy to onboard new demand without compromises or risks.

“AdBuilder AI makes it easier than ever to support smaller advertisers,” said Antonio Ibarra Fariña, CEO, Grupo ACIR. “With our strong presence in México, we see this as a powerful way to serve small and mid-sized businesses more efficiently and at scale. This is one more step to strengthen Grupo ACIR’s and iHeartRadio’s leadership in digital radio”.

Small businesses, in turn, gain access to a fully automated campaign builder that includes instant creative, real-time reporting and payment by credit card. It all works without requiring media expertise or outside help.

AdBuilder AI is now available to Triton’s partners seeking to expand their audio monetization strategy and capture more of the growing SMB market. To learn more, visit https://tritondigital.com/solutions/audio-advertising/AdBuilder%20AI

About Triton Digital

Triton Digital® is the global technology and services leader to the digital audio, podcast, and broadcast radio industries. Operating in more than 80 countries, Triton provides innovative technology that enables broadcasters, podcasters, and online music services to build their audience, maximize revenue, and streamline their day-to-day operations. In addition, Triton powers the global online audio industry with Webcast Metrics®, the leading streaming audio measurement service and Podcast Metrics, one of the first IAB certified podcast measurement services in the industry. With unparalleled integrity, excellence, teamwork, and accountability, Triton remains committed to connecting audio, audience, and advertisers to continuously fuel the growth of the global audio industry. For more information, visit www.TritonDigital.com.

About Grupo ACIR

With over 60 years of experience, Grupo ACIR has established itself as one of the most important radio companies in Mexico. It has a presence in the country’s major cities and operates some of the most recognized brands. Through high-quality music and news content, Grupo ACIR connects with millions of people every day. In recent years, in partnership with iHeartRadio, the company has successfully expanded into the digital space, strengthening its leadership in both traditional radio and digital audio. All of this has made Grupo ACIR a prestigious and well-regarded company among both its audience and advertisers.

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Today's reading time is 5 minutes. - Miko Santos (25 October 2025)

🎙️Today, we've got the inside scoop on: 

• Oxford Road Reveals ORBIT Rankings: The First Podcast Performance Index Based on Sales Data, Not Downloads

• Podcasts Are The Voice-First Influencers – And The Data Finally Proves It

• Australian Sports Content Consumption Hits Record High – What Podcasters Can Learn

• The 100-Download Club: What Actually Works

• Bonus: The Gen Z Paradox: Why Over-Targeting the Generation Everybody’s Obsessed With Might Be Killing Your Ads

• Elsewhere: Ariana Grande Joins Shut Up Evan Podcast at Acast Studios New York’s New SoHo Facility. 

• Podwires Job Board : Magnet Media - Podcast Producer - LIVING FOR THE CITY

Oxford Road Reveals ORBIT Rankings: The First Podcast Performance Index Based on Sales Data, Not Downloads

The Podwires Rundown : For fifteen years, podcast advertising has operated on faith. Download numbers, CPMs, brand safety scores – all proxy metrics for the only thing that actually matters: did the ad work? Oxford Road just released ORBIT, the first podcast rankings based on actual sales data from $1.6 billion in campaigns. And the results? They’re going to make a lot of people uncomfortable.

Oxford Road, now the world’s largest podcast advertising agency following its 2024 merger with Veritone One, released ORBIT (Oxford Road Benchmark Intelligence Tool) – the first podcast rankings built entirely on sales outcomes rather than audience size. Drawing from 12 months of real campaign data across hundreds of advertisers, CEO Dan Granger and his team analyzed which podcasts actually convert listeners into customers. The methodology normalizes performance across different advertiser goals, comparing each placement against specific targets like customer acquisition cost or return on ad spend.

The Key Points:

• Comedy and political podcasts dominate the top 15 performers, with 11 of 15 spots going to these “brand-unsafe” categories that many advertisers actively avoid – controversial content drives action

• Mega-shows like The Joe Rogan Experience don’t crack the top 15, with only 3 tier-1 podcasts making the cut, meaning advertisers systematically overpay for household names while smaller shows deliver superior returns

• Critical Role – where professional voice actors play Dungeons & Dragons – takes the #1 spot, proving passionate niche audiences outperform casual mass audiences for conversion efficiency

• Post-merger analysis shows 30% year-over-year improvement in client performance, validating the scale needed to create reliable benchmarks across the podcast advertising ecosystem

• Faith-based podcasts rank in the top 20% for performance across verticals, a finding impossible to surface without normalized, goal-based data rather than download counts

The Big Picture: For podcasters and producers, ORBIT creates both opportunity and accountability. Shows that deliver results now have data to prove their value beyond download counts, potentially commanding premium rates based on conversion efficiency rather than audience size.

Niche podcasts with passionate audiences (Critical Role as exhibit A) can demonstrate they outperform mainstream shows for advertisers, opening revenue opportunities previously locked behind tier-1 access requirements. The challenge? Podcasters need to understand their audience’s conversion behavior, not just their listening habits.

This means working more closely with advertisers on tracking, optimization, and demonstrating ROI – transforming the relationship from media buy to performance partnership. For the industry overall, ORBIT provides the missing link between podcast advertising’s promise and its proof, potentially accelerating ad spend from performance marketers who previously couldn’t justify podcast budgets without sales data.

Oxford Road will release monthly rankings covering genre-specific performance, international markets, and vertical-specific results, creating a continuously updated performance index that the entire industry can reference when making buying decisions.

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Podcasts Are The Voice-First Influencers – And The Data Finally Proves It

The Podwires Rundown: Look, I’ve been banging this drum for years: podcast hosts aren’t just content creators. They’re influencers. But instead of hawking skincare routines to followers who scroll past in three seconds, they’re building actual relationships with audiences who choose to spend 30, 60, 90 minutes with them. Week after week. Audacy’s latest “State of Audio” report just dropped the receipts, and honestly? It’s about time someone put numbers to what we’ve all known.

Audacy’s “State of Audio” report examines podcasting’s role in the creator economy, featuring insights from Audacy CMO Jenny Nelson and Head of Podcasts Leah Reis-Dennis, along with data from Podscribe’s benchmark report and Edison Research. The report includes perspectives from ARM Chief Revenue Officer Teresa Elliott on advertiser behavior and presents findings on listener trust, conversion rates, and multi-platform engagement patterns. Writer: Inside Audio Marketing published coverage of the report analyzing voice-first influencer trends and podcast advertising effectiveness.

The Key Points:

• Audio creator revenues have more than doubled since 2020, with podcast hosts emerging as “voice-first influencers” in digital marketing

• Nearly 60% of podcast fans trust ads more when read by the host, and 95% take action after hearing a podcast ad – recommending products, seeking information, or making purchases

• Smaller and mid-tier podcasts (under 750,000 monthly impressions) often outperform blockbuster shows in driving conversions, demonstrating a “niche over noise” trend

• 42% of listeners now prefer podcasts with a video component, with 48% feeling more engaged with hosts they see and hear beyond the episode

• Podcast listeners’ intentional media consumption creates deeper host-audience bonds than most other channels, making them more receptive to sponsor messages

The Big Picture: Podcasters need to stop underselling themselves as “just” content creators and start positioning as the voice-first influencers they are. The data says conversion rates peak with smaller shows – meaning you don’t need Joe Rogan numbers to deliver results. That “cult following” Leah Reis-Dennis talks about with shows like “Reality Gays”? That’s your competitive advantage. Daily listeners who feel like friends convert better than massive transient audiences.

Actionable steps: First, if you’re still apologizing for your “small” audience size to potential sponsors, stop. Lead with engagement metrics and conversion data instead. Second, embrace the “audio multiverse” – 42% of listeners want video components, so figure out your video strategy if you haven’t already. Third, when working with sponsors, push for creative freedom. The report confirms what we know: authentic host reads outperform scripted copy every time.

For producers, this means building packages that emphasize host authenticity and audience depth over raw reach. ARM’s actively looking beyond top charts for niche opportunities – that’s a signal. Smart buyers are getting it. Your pitch should lead with trust metrics and conversion potential, not just download numbers.

The podcast industry benefits when we collectively shift the conversation from “we’re growing” to “we’re converting.” Audio creators have doubled their revenues since 2020 not by accident, but because the medium delivers results. Every time an advertiser treats podcasting like radio’s digital cousin, point them to this data. We’re not radio. We’re not display ads. We’re voice-first influencers with audiences that actually give a damn. And the numbers finally prove it.

Australian Sports Content Consumption Hits Record High – What Podcasters Can Learn

The Podwires Rundown : More than 14 million Australians flocked to sports websites and apps in September 2025 as AFL and NRL finals consumed the nation’s attention. That’s 64% of the country’s online population spending nearly an hour each month on sports content. Meanwhile, news sites reached 96.4% of online Australians, who spent 4.56 hours monthly consuming news content. But here’s what should make podcast producers sit up: these aren’t just readers – they’re an audience actively seeking story-driven content about sports, current events, and human drama. And right now, they’re finding it everywhere except in our medium.

According to Ipsos iris data released by IAB Australia on October 23, 2025, September’s sports finals drove record engagement across digital platforms. The data, which measures 22.127 million Australians aged 14+ across all devices, revealed consumption patterns driven by major sporting events including the AFL Brownlow Medal, Brisbane vs. Geelong Grand Final, and NRL finals, alongside trending news stories like celebrity splits and reality show controversies.

The Key Points:

• 14.06 million Australians (64%) visited sports websites or apps in September 2025, spending an average of 54 minutes consuming sports content

• Men consumed five times more sports content than women (89 minutes vs. 17 minutes), while over-40s spent 2.4 times longer than under-40s on sports content

• News sites reached 96.4% of online Australians (21.3 million people), up 2.8% year-over-year, with users spending 4.56 hours monthly on news content

• Major sports events drove consumption, including AFL finals, Brownlow Medal coverage, and NRL championship games, alongside celebrity news and reality TV drama

• Career, Games, Health, and Homes categories saw the strongest growth, with Career content up 7.6% and Games up 5.1% year-over-year

The Big Picture: For podcast producers and the industry, this Australian data exposes both opportunity and urgency. Sports podcasts should be the natural home for fans who spent 54 minutes reading about finals drama – instead, they’re getting their fix through websites. The demographic splits matter too: men’s 5x higher sports content consumption and over-40s’ 2.4x longer engagement times reveal clear audience segments that sports podcasts can target with precision.

Here’s the actionable insight: news-driven podcasts need faster turnaround times. When 21.3 million people rush online to consume content about a Brownlow Medal, celebrity split, or Grand Final, podcast producers need same-day or next-day episodes to capture that interest. The Career and Games categories’ strong growth (up 7.6% and 5.1%) signal underserved podcast niches where audiences are actively seeking content but finding it elsewhere.

Most critically, this data reinforces that audiences consume content wherever it’s easiest to access. Australians spent 4.87 hours daily online in September – that’s a massive window where podcasts should be competing. But if sports fans can read about finals drama on their phones instantly while podcast episodes drop days later, we’re ceding ground to text-based platforms. The solution isn’t just making more podcasts – it’s making more timely, responsive podcasts that meet audiences where they already are: on their phones, hungry for stories, ready to engage.

The 100-Download Club: What Actually Works

The Podwires Rundown:Here’s something that’ll make you reconsider everything: getting 100 downloads in your first week puts you in the top third of all podcasts. Not the top 10%. Not an elite tier. Just crossing triple digits makes you better than two-thirds of shows out there. And yet 68% of independent podcasters can’t hit that mark.

The Podcast Host’s Katie Paterson dug into their Independent Podcaster Survey data to figure out what separates the 100+ download club from everyone else. The results challenge basically every piece of conventional wisdom floating around our industry right now – especially the obsession with video.

The Key Points:

• Patience wins – 36% of the 100+ download club have been podcasting for over 5 years, proving slow growth beats quick pivots

• Video is overrated – Only 37% of high-performing indie shows do video, and 21% have zero plans to start, suggesting video isn’t the growth silver bullet we’re sold

• Long-form dominates – 21% of 100+ shows run over an hour per episode, while shorter episodes correlate with smaller audiences

• Time investment matters – 24% of successful podcasters spend 10+ hours per episode versus just 8% of sub-100 shows

• Static video works – 16% of 100+ shows use YouTube with static imagery versus 8% of smaller shows, proving you don’t need cameras to tap video platforms

The Big Picture: For podcasters and producers, this research offers a roadmap that contradicts the panic around video. You can build a successful show by doubling down on long-form audio content and investing real production hours into each episode. The finding that longer episodes correlate with higher downloads should give creators confidence to go deep on topics rather than chasing artificial time constraints.

The video data is particularly liberating – if you’re audio-only and staying that way, you’re in good company with successful shows. Meanwhile, producers can focus resources on audio quality and storytelling rather than expensive video production rigs. For the industry, this validates that audio-first podcasting still has a strong lane, even as platforms push video. It also suggests that the constant pressure to adapt to video might be more hype than necessity, freeing creators to focus on what actually moves the needle: consistently creating quality content and sticking with it long enough for audiences to find you.

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Bonus : The Gen Z Paradox: Why Over-Targeting the Generation Everybody’s Obsessed With Might Be Killing Your Ads

The Podwires Rundown: Here’s something that’ll make every marketer spit out their oat milk latte: System1’s new research shows that Gen Z appears in 78-93% of advertising (depending on market), despite representing just 25% of the global population and controlling only 17% of global spending power. And here’s the kicker – those ads featuring Gen Z characters perform worse with actual Gen Z audiences. Significantly worse. We’re talking a 1.5-star drop for young men.

This comes from System1’s “Seeing Gen Z” study, conducted by analyzing 1,000 ads across the US and UK with 75,000 respondents, including over 10,000 Gen Z participants. The research reveals what the advertising industry got catastrophically wrong about this generation.

The Key Points:

• The representation trap backfires – Unlike other demographics where “feeling seen” increased ad appeal by 7 points, Gen Z felt 4 points LESS positive about ads featuring people like them, suggesting stereotyping rather than authentic representation

• Spending power doesn’t match screen time – Gen Z controls just 17% of global spending while appearing in the vast majority of ads, compared to Baby Boomers who control 21% of spending but appear far less frequently

• Men and women need different approaches – Gen Z men respond to themes of generosity, gratitude and kindness (3.4 stars), while Gen Z women connect with body positivity and sports content (4.2 stars)

• Humor beats earnestness – Despite stereotypes of Gen Z as the “serious generation,” ads with humor scored 0.6 stars higher with both male and female Gen Z audiences, with only 26% of Gen Z ads currently using comedy

• Tech stereotypes alienate – Ads avoiding phones and AI performed 0.7 stars better with Gen Z women and 0.3 stars better with men; they value human connection and family relationships over celebrity endorsements

Why It Matters

The advertising industry made the same mistake with Gen Z that we’re seeing in podcasting: assuming that youth obsession equals engagement. System1’s data shows that representation without resonance is worse than useless – it actively turns audiences off. Gen Z doesn’t want to see themselves reduced to clichés about phone addiction, social media obsession, or performative seriousness. They want what every generation wants: authentic stories, humor that doesn’t condescend, and human connection that feels real. This matters because the gap between how marketers think they should reach Gen Z versus what actually works is costing brands both short-term sales (lower Spike ratings) and long-term growth (lower Star ratings).

The Big Picture

For podcasters and producers, this research is a warning shot. The podcasting industry’s obsession with Gen Z mirrors advertising’s mistake – we’re so busy chasing the demo that we’ve forgotten to ask if we’re actually connecting with them. The video podcast panic, the TikTok pivots, the assumption that younger audiences demand shorter formats and constant visual stimulation – all of this might be solving for the wrong problem. System1’s research suggests that Gen Z responds to the same fundamentals that work across generations: strong storytelling, authentic humor, real human connections, and entertainment value that doesn’t rely on stereotypes. The podcast industry would do well to remember that The Podcast Host’s recent data showed similar findings – longer-form content actually performs better with engaged audiences, and video isn’t the guaranteed growth hack we’ve been sold. Instead of redesigning everything around assumed Gen Z preferences, maybe we should focus on making great shows that respect their intelligence and avoid the digital clichés that this research proves they actively reject. The generation that grew up online doesn’t need us to explain the internet to them – they need us to tell them stories worth their time.

MORE FROM PODWIRES:

🎙️ EVERYTHING ELSE IN PODCASTING TODAY

• Ariana Grande Joins Shut Up Evan Podcast at Acast Studios New York’s New SoHo Facility. Pop star Ariana Grande appeared as a guest on Evan Ross Katz’s Shut Up Evan podcast, recorded at Acast Studios’ new professional multimedia production facility in New York’s SoHo neighborhood, which offers high-quality audio and video capabilities for podcast creators.

• BBC Sounds Podcast Listening Surges 8.5% with 675 Million Plays in Record-Breaking Quarter. BBC Sounds achieved record-breaking growth with 675 million plays between July and September 2025, marking an 8.5% year-over-year increase driven by popular podcasts, sports content, and an expanding audience of 5.1 million weekly listeners across the UK’s leading digital audio platform.

• The Charlie Kirk Show Podcast Doubles Audience to 1.8 Million Weekly Listeners, Ranks 17th in US. The Charlie Kirk Show podcast more than doubled its weekly audience from 793,000 to 1.8 million listeners in Q3 2025, jumping from 49th to 17th place among US podcasts, with growth concentrated among Republican listeners aged 55 and older, according to Edison Podcast Metrics data.

• Washable Sofas Tops Podcast Advertising With $7.3M Spend in September 2025, Magellan AI Reports. Washable Sofas led all podcast advertisers with $7.3 million in September 2025 spending, followed by FanDuel and BetterHelp, while ParkWhiz and Google emerged as top movers with dramatic month-over-month increases exceeding 700%, according to Magellan AI’s analysis of the top 3,000 US podcasts.

• Sania Mirza Launches Podcast ‘Serving Up with Sania’ Featuring Pickleball and Celebrity Conversations. Former world No. 1 doubles tennis player and six-time Grand Slam champion Sania Mirza is launching “Serving Up with Sania,” a new podcast produced by IVM Podcasts that combines pickleball matches with unfiltered conversations featuring guests from sports, entertainment, and entrepreneurship, marking her transition from professional tennis after retiring in 2023.

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The World Service has extended its partnership with Zeno Media to make BBC World Service and BBC News Hausa content available on Zeno’s global audio platform, Zeno.FM. Through this collaboration, audiences around the world can now access BBC content for free, bringing trusted, independent journalism to listeners globally.

Audiences can now access BBC World Service English and BBC News Hausa audio streams on Zeno FM, featuring popular English-language programs such as The Newsroom, The Documentary and The Climate Question.

The BBC News Hausa current affairs programme, Shirin Yamma, will also be available, bringing listeners the latest global and regional news, and deep analysis, alongside listeners’ views.

With more than 40 million listeners globally, Zeno Media offers a powerful platform to extend the BBC’s trusted journalism to new audiences, particularly across Africa and South Asia, where Zeno has a strong and growing user base.

Ayesha Chowdhury, Senior Manager, Global Digital Partnerships Lead, BBC World Service, says: “We are excited to grow our partnership with Zeno, expanding our digital reach among English and Hausa-speaking audiences globally. This collaboration helps the BBC World Service engage young, digital listeners, and ensure our trusted journalism is accessible to audiences wherever they are in the world.”

Nikols Latuff, VP of Growth, Zeno Media, says: “Making quality content easily accessible to diaspora communities globally is an important piece to our global mission. We are proud to bring Zeno audiences an even wider selection of high-quality audio programming, now including BBC World Service content, for those who turn to Zeno for connection and trusted storytelling.”

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Sound.Waves, the new summit at the crossroads of music, podcasting and content creation, is preparing to tee off its first edition in Adare this November. Supported by Limerick.ie, the two-day gathering will also spotlight Adare as a destination with its eyes firmly on the future, and of course the Ryder Cup in 2027.

Like the best rounds of golf, Sound.Waves. is built on strategy, focus and a touch of flair. Delegates can expect a line-up of panels, one-to-ones and live sessions that ask how content travels from idea to audience — and how creators can build sustainable careers along the way.

Ireland has always prized its storytellers. Today, those stories find new life through podcasts, songs and shows that travel far beyond borders. Sound.Waves. brings together the people behind that content to explore how creativity and commerce can work hand in hand.

This multi-million euro creative industry in Ireland and amongst the companies already attending include Apple, Patreon, Spotify, BBC Sounds, The 2 Johnnies, RTE, GoLoud, Sky Sports Golf, Golf Digest, CMU (Complete Music Update), Circulate, Kite Entertainment, Universal Music, Sony Music, NK Management, IMRO, IRMA and RAAP.

Discussions will focus on a wide range of topics and dig into major trends shaping the sectors such as the emergence of AI and its effects on both the podcasting and music industry to the importance of IP and how it can be applied across multiple platforms. Conversations will also centre around how to look at marketing artists and podcasts globally in a digital world and explore the people behind some of Ireland and UKs biggest podcasts and what makes them the success stories they have become. International music executives will also delve into the world of A&R and what are the best ways of access to entry to a market flooded with new music on a daily basis. Conference content at a glance: • Keynotes and panel conversations with leading voices from Ireland and beyond • Spotlight sessions with industry players in podcasting, streaming, management, monetisation, production and publishing • Exclusive 1-2-1 sessions with global platforms, including Apple and Patreon 

Sound.Waves. builds on the legacy of Music Cork, the much-loved boutique music business event that ran until 2019. Founded by Alexis Vokos, Willie Ryan and Jim Lawless, and now joined by Joe Clarke and Colm Hanley, the team set out to create a fresh, international-facing event for today’s music and podcasting landscape. Speaking on behalf of the event, Sound.Waves. event organiser Colm Hanley said “We’re delighted to bring the first Sound.Waves. to Adare this November. Both music and podcasting are built on storytelling, audience connection and the challenge of standing out in a crowded digital world. Whether it’s a studio or a stage, creators in music and podcasting face the same questions and the programme we have developed with Sound.Waves. brings those sectors together to share ideas, strategies and spark new collaboration about the future of creative business. The addition of the inaugural All Ireland Podcast Awards to celebrate Ireland’s top podcast makers adds another exciting element to this new annual event.”

Donn O’Sullivan, Head of Marketing and Communications, Limerick.ie added “Limerick.ie is proud to support Sound.Waves. — a series of events that amplify the creativity, innovation and entrepreneurial spirit that defines our content industries. As the digital home of Limerick, Limerick.ie is the perfect partner for an event that celebrates storytelling in all its forms, from podcasts to music and beyond. Podcasts and audio content have a unique power to connect, inspire and share our ‘Different Kind of Energy’ with audiences around the world. Through Sound.Waves., we’re turning up the volume on Limerick’s voice — and showcasing the county as a place where ideas, talent and opportunity meet.” Now, set in the historic village of Adare, Co. Limerick the event offers an intimate, connected space for discovery, networking and collaboration — rooted in Ireland but outward-looking. The day of the summit builds towards a special evening reception on Thursday, 13 November, where the spotlight turns to podcasting. The All-Ireland Podcast Awards will celebrate the creativity and achievements of Ireland’s podcasting community, recognising excellence across categories from Current Affairs & Politics to True Crime, Sport, Entertainment and more. With Head Judge Dylan Haskins (Commissioner Podcasts BBC Sounds) on board and an emphasis on both talent and innovation, the awards cap the inaugural Sound.Waves. by honouring the voices shaping Ireland’s fastest-growing audio medium. Tickets Passes are now on sale at www.soundwaves.ie: • €280 — Full access with 2 nights’ accommodation (12 & 13 November) • €180 — Full access with 1 night’s accommodation • €75 — Event pass only Packages include entry to all Sound.Waves. conference sessions and the All-Ireland Podcast Awards, with accommodation at the 4* Woodlands Hotel & Spa, Adare.

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The acclaimed independent podcast Shifting Terrain is set to launch its second season on Tuesday, October 28, 2025, promising to expose the forces both capturing and dividing the working class.

Hosted by Rachel Rybaczuk, the podcast moves beyond simplistic news stereotypes to amplify the cultural, political, and economic issues facing America’s working class today Building on the foundation of its first season, Season 2 is an intervention for listeners burned out by partisan news cycles and overly academic political commentary.

The new season is for anyone seeking a more accessible, culturally-focused dialogue. ”Shifting Terrain focused on working-class voters well before Trump’s win in the 2024 presidential race,” says Rachel Rybacuzk, Executive Producer and Host. “It spotlights Democrats’ shortcomings and provides a roadmap for how they can reshape the Democratic party and build a multiracial, cross-class democracy.

Season two takes this a step further by digging into the issues capturing and dividing the working-class” This series provides a much needed approach to politics and culture. By foregrounding a working-class perspective that doesn’t dumb down the details, Shifting Terrain sets itself apart from other politics and culture podcasts. Amanda Cowper, Co-Executive Producer of Shifting Terrain, says, “Rachel’s dynamic experience enables her to code-switch across contexts. She is a compelling conversationalist who makes complex ideas accessible and relatable to general audiences.”

The show has crossover appeal beyond the typical audience. The second season kicks off with a lively discussion between a progressive, weightlifting social media star and Fox News expert that illuminates the media’s role in shaping political narratives and election outcomes. Future episodes will continue to highlight diverse voices and explore timely topics, including the role of Christian nationalism in politics, if unions are actually the way to build power, and the realities of immigration policy.

Each episode combines on the ground perspectives of everyday people with experts studying the national landscape. Season one of Shifting Terrain is a template for how the Democratic Party should rebuild to win in 2026. Featured experts, including working-class voters, outlined the missteps of recent years that led to Trump’s victory.

Rachel Rybaczuk also guides each conversation to strategies to win working class voters. Unlike most politically oriented podcasts, Shifting Terrain highlights the path forward while synthesizing big-picture patterns playing out in the lives of everyday people. Along the way listeners get fresh perspectives on long-standing issues. Alan Minsky, the Executive Director of Progressive Democrats For America, says, “it’s hard to imagine another media project that meets this historical moment as well as Shifting Terrain. It gives voice to the American working-class - as so few media projects honestly do.

At a moment when America’s democracy is in crisis because the traditionally more progressive party in our two-party system has become increasingly estranged from the largest segment of the American population.”

Shifting Terrain is available on Apple Podcasts, Spotify, Pocket Casts, and wherever podcasts are found. You can also follow the podcast on Instagram.

About the podcast:

Shifting Terrain is back for a new season to explore the forces both capturing and dividing the working class. Hosted by sociologist Rachel Rybaczuk, she’ll talk with experts and everyday people about everything from the alarming reach of Christian nationalism to the inescapable influence of the manosphere, whether unions are actually the way to build power and if immigrants are really taking your job. Shifting Terrain moves beyond simplistic stereotypes to amplify the cultural, political, and economic issues facing America’s working class today.

About Rachel Rybacuzk 

Rachel Rybacuzk is the Executive Producer and Host of Shifting Terrain. Rachel is a public sociologist, award-winning educator, consultant, strategist, and organizer whose work is informed by growing up working-poor in a city with an immigrant single-parent. She has taught at private and public colleges and universities, directed national political campaigns, and been a leader in the nonprofit sector. Her mixed methods research crosses disciplines and topics including class culture, commodification of identity, and the power of branding in communication strategy.. Rachel’s social science rigor informs consulting in the private and public sectors.

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The PIA (Syndicat des Producteurs Professionnels et Indépendants de l’Audio, France) and AudioUK (the industry body for the podcast and audio industry) are proud to announce the launch of the International Podcast Alliance (IPA), a collaborative transnational platform uniting professional organisations representing podcast and audio producers, businesses and publishers globally.

The International Podcast Alliance (IPA) aims to strengthen dialogue, share market data, promote best practices, support market development, and carry joint advocacy actions at both international and European levels. The initiative responds to common challenges faced by independent producers and publishers, including legal recognition, fair platform practices, access to public funding, and a fragmented ecosystem.

Founding Members

The Alliance is initially joined by professional podcast organizations: Podd- och radioproduktionsbolagen – Podcast and Radio Production Companies (Sweden), the ABIQ – Association du Balado Indépendant du Québec (Quebec, Canada), and the Collectif des producteurs et des productrices belges francophones (Belgium), alongside the PIA – Syndicat des Producteurs Professionnels et Indépendants de l’Audio (France) and AudioUK (UK) the two organizations that spearheaded the initiative. These founding members have agreed to collaborate on knowledge-sharing, benchmarking, and collective advocacy, while encouraging more national organizations to join the Alliance in the coming months.

“The podcast is a global phenomenon, growing everywhere with the same creative energy and the same structural challenges — from the lack of legal status to the absence of fair value sharing. Some answers will be found locally, but many of tomorrow’s solutions will have to be built together, at an international level.” Katia Sanerot, President of PIA – The French Union of Independent Audio and Podcast Producers

“At AudioUK, we believe that collaboration is one of the key drivers of growth in the podcast and audio industry. I’m thrilled that we’re partnering with the PIA to launch this new alliance, alongside representatives from Belgium, Sweden, and Canada, with more to come. Podcasting and audio are truly global formats, unbound by borders or geography. It’s exciting to see us come together as a global alliance to continue to grow this fantastic industry, by sharing our expertise, championing best practice and driving innovation.” Chloe Straw – CEO of AudioUK.

The IPA will operate through quarterly virtual meetings and annual in-person gatherings, hosted in different countries each year, fostering an international exchange of knowledge while maintaining each organization’s autonomy.

First MeetingThe IPA will hold its first official virtual meeting on 17 November 2025 at 15:00 CET, bringing together the founding members to set priorities, define working methods, and outline future collaborations.

A Call to JoinThe IPA invites other professional podcast organizations and representative bodies (non profit organizations representing publisher and/or audio producers) to join this growing coalition. The goal is to create a robust international forum that supports the sustainable development of podcast markets worldwide, ensuring a fair, diverse, and independent podcast and audio ecosystem.

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🎙️Today, we've got the inside scoop on: 

• Podcasters Miss Opportunity as 42% of Drivers Spend 4+ Hours Weekly in Cars

• Nearly One-Third of Americans Under 45 Produce Online Content, Survey Shows

• College Students Reject AI Podcasts, Citing Lack of Human Connection

• Misinformation Concerns Spark Podcast Regulation Debate in Australia

• Bonus: Most Podcast Ads Fail Basic Branding Standards, Industry Study Reveals

• Elsewhere: Spotify RADAR Creators 2025: Global Podcast Program Expands to 11 Countries with Emerging Talent.

• Podwires Job Board : Boston Globe Media - Campaign Manager

Podcasters Miss Opportunity as 42% of Drivers Spend 4+ Hours Weekly in Cars

The Podwires Rundown : Your car just became podcasting’s next battlefield. While we obsess over Spotify wrapped stats and YouTube view counts, there’s a massive listening environment that’s being completely ignored by our industry – and it’s one where people spend four-plus hours every week with nothing but time and a desperate need for good content.

According to a 2025 Gracenote automotive infotainment survey of 4,001 vehicle owners across Germany, Japan, South Korea, and the U.S., conducted between July 28 and August 19, 2025, in-car entertainment is experiencing a critical evolution. The research reveals significant gaps between consumer expectations and current infotainment capabilities, with particular implications for audio content creators and podcasters.

The Key Points:

• 42% of vehicle owners spend four or more hours per week in their vehicles, yet 56% still listen to AM/FM radio most often, indicating massive untapped potential for on-demand audio

• 67% of drivers want their in-dash systems to organize all available content regardless of source, but current fragmented experiences mean 21% simply turn off media when they can’t find something

• Nearly 50% of vehicle owners would switch to in-dash systems if the experience improved, with 40% already streaming more content than a year ago

• 22% of drivers want access to more podcasts in their vehicles, ranking fourth behind music (63%), AM/FM radio (29%), and news/talk (28%)

• Safety concerns and complex navigation drive 71% of users to rely on phone mirroring, but phone-based solutions can’t deliver the unified, source-agnostic content discovery drivers actually want

The Big Picture: For podcasters and producers, this presents both an existential threat and a massive opportunity. The threat? If we don’t solve in-car content discovery, we’ll watch our medium get steamrolled by platforms that do – whether that’s Spotify’s audiobook integration, YouTube’s video dominance, or even traditional radio’s comeback story.

The opportunity? The in-car infotainment market is projected to hit $22.5 billion by 2024 and grow at 11.5% annually through 2030. Automakers are investing heavily in next-gen systems that could finally break down the walled gardens keeping our content siloed.

Here’s what needs to happen: podcasters need to ensure their shows are optimized for voice search and source-agnostic discovery. Producers should consider creating shorter-form content specifically designed for in-car consumption where safety and easy navigation matter most.

The industry needs to advocate for open RSS integration in automotive systems, not just app-specific partnerships that replicate the fragmentation problem. And critically, we need to start treating in-car listening as a first-class distribution channel, not an afterthought. McKinsey found that 38% of U.S. consumers would switch car brands for better in-car tech experiences. That means the opportunity window is open right now – but it won’t stay that way forever.

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Nearly One-Third of Americans Under 45 Produce Online Content, Survey Shows

The Podwires Rundown: We talk endlessly about the creator economy like it’s some niche corner of the internet, but here’s the reality check: nearly one in five Americans is already in the game. Edison Research just dropped data showing 18% of Americans 13 and older are actively creating and sharing original content online. That’s not passive scrolling – that’s production. And before you assume it’s just Gen Z kids doing TikTok dances, think again. Among 25-44 year-olds, 28% are creating content. That’s Millennials with mortgages and kids, not just teenagers chasing viral fame. The creator economy isn’t coming – it’s already here, and it’s bigger than most of us realized.

According to Edison Research’s national online survey conducted in May 2025 among Americans aged 13 and older, nearly one-fifth of the U.S. population actively creates and shares original digital content. The research reveals significant generational divides in content creation participation, with younger demographics leading adoption while engagement drops sharply among older age groups. The findings come as the influencer industry approaches a projected $500 billion valuation by 2027, according to Forbes.

The Key Points:

• 18% of Americans 13+ currently create or produce original content shared publicly online, representing tens of millions of active creators nationwide

• 30% of Americans aged 13-24 identify as digital content creators, with a nearly identical 28% of those aged 25-44 also producing content

• Only 7% of Americans 45+ consider themselves digital creators, marking a dramatic generational divide in content production

• The influencer industry is valued at approximately $250 billion as of 2024 and projected to reach $500 billion by 2027

• Content creation spans beyond celebrity influencers like Mr. Beast and Charli D’Amelio to include everyday Americans producing original material

The Big Picture: For podcasters and producers, these numbers should trigger alarm bells and opportunity sensors simultaneously. The threat is obvious: with 28% of 25-44 year-olds creating content, you’re facing unprecedented competition from the demographic that traditionally had the most disposable income for premium subscriptions and the most time for media consumption.

But here’s the opportunity nobody’s talking about: those 18% of Americans creating content need audio. They need background music, sound effects, interview clips, narration, and branded audio content for their videos and streams. The podcasting industry has spent years perfecting audio storytelling, sound design, and production workflows.

That expertise is suddenly in massive demand from millions of amateur creators who have no idea how to make their content sound professional. Smart podcasters and producers should be thinking about how to productize their audio skills – whether that’s licensing music libraries, offering audio editing services, creating sound effect packages, or building tools that help creators improve their audio quality. Additionally, the sharp decline in content creation among those 45+ (only 7%) suggests this demographic might actually be more receptive to traditional podcasting as they seek content rather than create it.

This could be podcasting’s sweet spot – serve the older audience that wants professionally produced content while simultaneously supplying tools and resources to younger creators who need audio assets. The creator economy isn’t a threat to podcasting if we’re smart enough to become the infrastructure that powers it.

NYU Students Rate AI-Generated Podcasts 2.3 Out of 5 in Class Study

The Podwires Rundown : Steve Goldstein turned his NYU Business of Podcasting class into a focus group, and the results should worry anyone betting on AI-generated podcasts. Students listened to shows from Inception Point AI – a company cranking out hundreds of machine-made episodes weekly – and rated them on a 1-to-5 scale. The average?

According to an October 13, 2025, classroom experiment conducted by Steven Goldstein, founder and CEO of Amplifi Media and instructor of NYU’s Business of Podcasting course, college students reviewing AI-generated podcasts from Inception Point AI gave the content an average rating of 2.3 out of 5. The study, conducted with Tom Webster, Partner at Sounds Profitable, as guest speaker, converted the classroom into a mini focus group examining student reactions to machine-generated podcast content.

The Key Points:

• NYU students rated AI-generated podcasts from Inception Point AI an average of 2.3 out of 5, with most scores hovering in the middle or lower ranges

• Students identified AI content as synthetic without being told, describing conversations as “flat, too perfect, and oddly emotionless”

• Instructional content like How to Train Your Dog or The Science Behind Strength scored higher (4s) because students expected information rather than personality

• When asked if AI-generated content matters if information is correct, most students said yes, explaining they listen to podcasts specifically for human voices, quirks, laughter, and tangents

• Students said they would rather read factual content than listen to AI-generated versions, describing the experience as “having a Wikipedia page read aloud”

The Big Picture: For podcasters and producers, Goldstein’s NYU experiment offers critical insights into AI’s actual threat level versus perceived disruption.

First, the emotional DNA of podcasting – what Goldstein calls “voice, vulnerability, and lived experience” – represents a genuine moat against AI replacement. Students didn’t want better AI; they wanted human hosts with credentials, anecdotes, and opinions. This suggests the industry’s anxiety about AI-generated content may be overblown for personality-driven shows, interview formats, and narrative storytelling.

Second, the distinction students made between instructional content (where AI scored higher) and conversational content (where it failed) reveals AI’s actual viable use case: short, factual explainers where warmth isn’t expected. This suggests a potential collaboration model rather than replacement – using AI for research assistance, show notes, or quick informational segments while preserving human hosts for the core content.

Third, the transparency issue matters enormously. Students said the artwork “announced” the content was synthetic, and knowing shows were AI-made influenced reception. This suggests any podcaster experimenting with AI assistance needs clear disclosure policies, not just for ethical reasons but because audiences will reject content they perceive as inauthentic.

Fourth, the prediction that AI will improve over five years but potentially “blur the line between authentic storytelling and synthetic imitation” points to an upcoming credibility crisis. As AI gets better at mimicking human hosts, the premium on verified human creators will likely increase, not decrease. This means podcasters should be investing now in building direct audience relationships, transparent production processes, and authentic personal brands that can’t be replicated.

Fifth, the finding that students would rather read factual content than listen to AI-generated versions exposes a fundamental flaw in the AI podcast business model: it assumes information delivery is podcasting’s primary function. But as the students made clear, information is readily available in text form. Podcasting’s value proposition is the experience of that information delivered through human personality.

Finally, for the podcast industry broadly, this experiment suggests the real competition isn’t AI-generated podcasts – it’s the continued dominance of reading for quick information consumption. If students prefer reading Wikipedia to listening to AI podcasts, the industry’s challenge remains what it’s always been: making audio content compelling enough to justify the time investment. AI doesn’t solve that problem; it potentially makes it worse by flooding the market with mediocre content that trains audiences to associate podcasts with low-quality information delivery.

Podcast Experts Call for Accountability Standards at SXSW Sydney

The Podwires Rundown: At SXSW Sydney this week, two of Australia’s leading podcast scholars dropped a truth bomb that should make every podcaster uncomfortable: the medium we claimed would democratize media might actually be poisoning it. Monica Attard, who spent 30 years at the ABC and won five Walkley Awards, didn’t mince words. “Chat podcasts, where a few people just talk, with no obligation to verify what they say or to adhere to truth and accuracy, can pollute the public sphere,” she said.

And she’s not wrong. While we’ve been celebrating podcasting’s growth and patting ourselves on the back for disrupting traditional media, we’ve conveniently ignored the fact that we’ve also created a misinformation superhighway with zero guardrails. The question isn’t whether podcasting democratized media – it’s whether we can live with what that democracy actually looks like.

According to a panel discussion at SXSW Sydney on October 13, 2025, reported by RadioInfo Asia’s Steve Ahern, podcast industry experts Monica Attard (UTS Sydney Centre for Media Transition) and Siobhan McHugh (podcast studies scholar and producer) raised concerns about accountability, editorial standards, and misinformation in podcasting. The session, moderated by Sarah Gilbert from Impact Studios and UTS Sydney, examined whether podcasting has fulfilled its democratic promise or created new challenges for public discourse.

The Key Points:

• Monica Attard, a five-time Walkley Award winner, distinguished between narrative podcasts with editorial standards and “chat podcasts” that lack verification obligations, calling the latter a potential pollutant of public discourse

• Siobhan McHugh cited the original intention of podcasting as creating “an open medium, not to make money,” criticizing platforms like Spotify for undermining this with paywalled content

• Unlike licensed broadcasters, podcasts typically fall outside regulatory frameworks in most countries, creating accountability gaps that traditional media faces through regulatory systems

• High-quality investigative podcasts like The Greatest Menace cost an estimated $35,000-$40,000 per episode hour, representing only 10% of traditional documentary costs but still requiring significant funding

• The panel called for increased podcast reviews, transparent contact information from producers, published codes of conduct, and greater professional accountability as alternatives to formal regulation

The Big Picture: For podcasters and producers, this SXSW Sydney panel exposes uncomfortable realities that demand immediate action. The industry stands at a crossroads between maintaining the open, democratic ideals that made podcasting revolutionary and acknowledging that zero accountability creates genuine harm.

Attard and McHugh aren’t calling for government regulation – they understand that’s nearly impossible given podcasting’s borderless, unlicensed nature. Instead, they’re proposing market-based and cultural solutions that podcasters can implement now: publish your contact information, develop and display a code of ethics, make yourself accountable, and build transparency into your process.

For producers working on narrative or investigative content, McHugh’s example of The Greatest Menace demonstrates the economic challenge clearly – $35,000-$40,000 per episode hour, even at 10% of traditional documentary costs, still requires substantial funding that doesn’t exist in most podcasting business models. This suggests the industry needs to advocate for government or philanthropic support for investigative journalism podcasting, similar to public broadcasting models.

The call for more podcast reviews and critiques represents a critical infrastructure gap. McHugh’s surprise that Australia lacks regular podcast reviews points to an opportunity: professional podcast criticism could serve as a quality filter, helping audiences identify trustworthy shows while creating reputational incentives for podcasters to maintain standards.

The distinction the panel made between empowering marginalized voices (citing examples from Arabic, Myanmar, and Chinese LGBTIQ podcasts) and enabling misinformation campaigns reveals podcasting’s dual nature – the same openness that allows a taboo-breaking show like EIB to discuss women’s bodies in Arabic also permits conspiracy theorists to operate without accountability.

For the podcasting industry, the smartest move isn’t waiting for regulation or hoping the problem solves itself. It’s proactively building credibility infrastructure: professional associations with voluntary codes of conduct, transparent funding disclosures, fact-checking partnerships, and media literacy initiatives that help audiences evaluate podcast quality. Otherwise, we risk discovering that democratizing media without democratizing media literacy just means everyone gets an equal voice in polluting the public sphere.

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Most Podcast Ads Fail Basic Branding Standards, Industry Study Reveals

The Podwires Rundown: Your podcast ad is terrible, and I can prove it. Pierre Bouvard, Chief Insights Officer at Cumulus Media | Westwood One, just published research that should terrify every brand buying podcast ads: most campaigns feature too many copy points, say the brand name too late (or not enough), and rely on rational messaging that generates almost zero long-term profit.

According to research published October 13, 2025, by Pierre Bouvard, Chief Insights Officer of the Cumulus Media | Westwood One Audio Active Group, most audio advertising suffers from fundamental creative flaws that undermine sales effectiveness. The analysis, drawing on studies from Nielsen, Effie, System1, Kantar Millward Brown, and other marketing effectiveness firms, identifies specific tactical errors in podcast and radio advertising while providing evidence-based best practices for improving creative performance.

The Key Points:

• Nielsen research shows creative drives 50% of sales effect, yet Advertiser Perceptions data reveals marketers significantly underestimate creative impact while overstating targeting importance

• Effie and System1 research demonstrates narrowly targeted campaigns with rational messaging generate minimal profit even after three years, while broadly targeted emotion-based campaigns produce maximum long-term returns

• Most podcast ads violate basic branding principles: brands appear too late in ads (20-25 seconds), are mentioned too infrequently (rule of thumb: 5 mentions in 30 seconds, 9+ in 60 seconds), and lack category anchoring

• Nielsen podcast brand effect studies confirm greater brand mention frequency correlates directly with stronger brand equity, association, and advertising recall

• System1 analysis of hundreds of thousands of ads shows right-brain creative elements (emotion, humor, sonic assets) drive strongest market share growth, while campaigns using humor specifically outperform serious messaging

The Big Picture:

For podcasters and producers, Bouvard’s research exposes critical gaps between industry practice and marketing science that directly impact revenue sustainability.

The findings suggest several immediate actions:

First, educate your advertisers. When brands come to you with 10-point feature lists and demand precision targeting, you’re not doing them a favor by accommodating – you’re helping them waste money. Share this research. Explain that Nielsen data proves creative drives 50% of sales effect while targeting drives far less than advertisers believe.

Second, implement creative standards. Require brand mentions in the first two seconds. Insist on category anchoring (”Kardia, the heart monitoring app” not just “Kardia”). Limit copy points to one main message. These aren’t creative preferences – they’re evidence-based practices that increase advertiser ROI, which means more renewals and longer contracts.

Third, consider developing sonic branding packages. The System1/TikTok research showing sonic assets in the first two seconds boost brand awareness represents a productizable service. Offer advertisers consistent music beds, jingles, or sonic logos across all their reads.

Fourth, embrace entertainment. The System1 data demonstrating humor drives market share growth challenges the serious, feature-heavy tone dominating podcast advertising. Host-read ads already have personality – lean into that rather than forcing hosts to recite benefit lists.

Fifth, push back on the direct-response mindset. The Effie research showing rational, narrowly targeted campaigns generate minimal long-term profit directly contradicts the performance marketing orthodoxy that’s dominated podcast advertising. Yes, attribution is easier with promo codes and specific URLs, but if those campaigns don’t build brand equity, you’re training advertisers to view podcasting as a purely transactional channel with no lasting value.

For the industry’s long-term health, we need advertisers thinking about podcasts the way System1 and Effie recommend: broad reach, emotional creative, long-term brand building. Finally, the finding from Kantar Millward Brown that fewer messages increase recall while more messages decrease it should fundamentally change how podcast ad copy gets written.

Christopher Smith’s observation that “a radio spot is not a hotel – you don’t have to fill all the space” applies directly to 60-second podcast reads that try cramming in every possible benefit. One clear message, repeated with emotion and strong branding, will outperform seven rational points every time. The broader implication: podcasting’s creative standards have lagged behind its distribution growth. We’ve scaled the medium without scaling creative quality, and that gap is costing advertisers – and ultimately podcasters – real money.

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🎙️ EVERYTHING ELSE IN PODCASTING TODAY

• Spotify RADAR Creators 2025: Global Podcast Program Expands to 11 Countries with Emerging Talent. Spotify expanded its RADAR Creators program in 2025 to support emerging podcast talent across 11 countries including the US, Spain, Australia, Indonesia, Colombia, Philippines, Italy, Germany, France, and Sweden, providing marketing and promotional resources to help new creators reach wider audiences in audio and video formats.

• Headliner Launches Automatic Clip Titling Feature as Social Media Platforms Phase Out Hashtags. Headliner released Automatic Clip Titling, an AI-powered feature that automatically generates smart titles and metadata for podcast video clips to improve content discovery on social platforms like TikTok, Instagram, and YouTube as hashtags are phased out in favor of algorithm-based content indexing.

• Samsung TV Plus Launches Spotify’s First FAST Channel Featuring The Ringer’s Video Podcasts. Samsung TV Plus partnered with Spotify to launch The Ringer from Spotify, marking Spotify’s first-ever FAST (Free Ad-Supported Streaming Television) channel, featuring curated video podcasts including Bill Simmons’ Book of Basketball 2.0, The Rewatchables, and The Big Picture available subscription-free on Samsung devices.

• The Verge Launches Ad-Free Podcast Feeds for Subscribers Including Decoder and Vergecast. The Verge launched ad-free versions of its podcasts including Decoder, The Vergecast, and Version History for subscribers at no additional cost, responding to high demand from its subscriber base that pays $40 annually for access to ad-free content, exclusive newsletters, and full-text RSS feeds.

• Podcast Rankings Shift: Mel Robbins Falls, Charlie Kirk Surges in October. The October podcast rankings just dropped, and they tell a story that should make every podcaster rethink their strategy. After September’s massive spike, it’s cooled considerably, falling completely out of the top 10 for audio reach and monthly downloads despite still holding strong at #2 for downloads per episode.

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Lower Street, the award-winning podcast agency for brands, released a cow-themed ad to announce the launch of its new video podcast production service. This new service is built on the philosophy that video podcasts shouldn’t be a repurposed version of an audio recording, but rather content purposefully crafted for YouTube and its audience.

Lower Street is helping brands milk YouTube for all its worth — creating video podcast content that aids discovery and reaches a larger audience.

Lower Street challenges the status quo of content marketing and calls out the common trap many brands fall into. “Most marketers know content marketing is hard,” said Harry Morton, Founder and CEO of Lower Street. “The easy route, recording a Zoom chat and calling it a podcast, is a hard format to grow with. We’ve built a strategy that helps brands do video podcasting the right way: platform-native, data-backed, and designed to perform on YouTube and beyond.”

A New Standard for Brand Video Podcasting

Lower Street’s approach goes beyond simply adding cameras to an audio show. The philosophy is that a video podcast is its own medium, with its own rules, opportunities, and audience expectations.

The team has spent years testing, experimenting, and refining what actually drives growth across platforms. The result is a comprehensive video podcast system that gives brands both a podcast strategy and a video podcast strategy — helping their shows perform as strongly in audio feeds as they do on video. It’s a proven approach that simplifies the process while amplifying reach — making video podcasting smarter, easier, and far more effective.

“We’re meeting marketers where they are - overwhelmed by platforms, under pressure to make content that actually works,” said Harry Morton. “Our process brings strategy and creativity together so brands can make content that truly stands out.”

Human Storytelling, Serious Results

Lower Street’s approach balances production quality with strategic insight, helping brands turn every episode into a long-term asset that brings results. With shows like Moneywise, the team has already proven that great video podcasts drive measurable engagement, including millions of views, hundreds of thousands of watch hours, and significant ROI for clients.

“We wanted videos that would perform on YouTube, not just exist there. [..] They drove views up 513% month over month, which resulted in more leads in one week than the previous year of the show in total,” says Sam Parr about Lower Street’s video podcasting approach.

Now, with seven new video shows in production, Lower Street continues to help brands make the most of YouTube: building standout podcasts that improve reach and results.

About Lower Street

Lower Street helps brands make podcasts people actually want to hear and watch. Combining brand storytelling, end-to-end production, and targeted growth, they make branded shows stand out. Since 2016, they’ve partnered with brands like BCG, Adobe, Seattle University—helping them create shows that perform, engage their target audiences, and stand out from the competition.

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PodcastOne (NASDAQ: PODC), a leading publisher and podcast sales network, today announced a partnership with digital media powerhouse BuzzFeed to launch a brand-new original podcast series, Phone A Fangirl. Known for its high engagement and viral content especially with millennial and Gen Z audiences, BuzzFeed and top 10 US podcast publisher PodcastOne, aim to capitalize on the global appeal of the K-Pop genre with this limited 12-episode series featuring guests including TOMORROW X TOGETHER, ZEROBASEONE, KAI and Mingyu x S.Coups of SEVENTEEN.

Ring ring… your fave is on the line! On the “Phone A Fangirl” podcast, professional fangirls Joyce Louis-Jean and Lindsay Webster connect fans straight to their favorite K-Pop idols and celebrities by calling in or leaving a voicemail. Filled with yapping and getting answers to questions only fans wanna know – welcome to the hotline where celebs and stans can be themselves. Press 1 to scream. Press 2 to sob.

“It’s exciting to be working with a well-established brand with a history of creating viral content like BuzzFeed. We look forward to the start of this relationship and to bringing this fresh and fun superfan focused series to podcast platforms around the country,” said Eli Dvorkin, Chief Content Officer of PodcastOne.

PodcastOne’s full roster of top ranked podcasts includes programming across top genres such as news, comedy, true crime, sports and society and culture and includes shows such as The Jordan Harbinger Show, Karma and Chaos, The Adam Carolla Show, Stassi, Off The Vine with Kaitlyn Bristowe, LadyGang, Gals on the Go, The Prosecutors, Court Junkie, Pop Apologists and Varnamtown. PodcastOne shows are available through PodcastOne, Apple Podcasts, Spotify, YouTube, iHeart, Amazon and wherever podcasts are heard.

About BuzzFeed, Inc.

BuzzFeed, Inc. is home to the best of the Internet. Across pop culture, entertainment, shopping, food and news, our brands drive conversation and inspire what audiences watch, read, and buy now – and into the future. Born on the Internet in 2006, BuzzFeed is committed to making it better: providing trusted, quality, brand-safe news and entertainment to hundreds of millions of people; making content on the Internet more inclusive, empathetic, and creative; and inspiring our audience to live better lives.

About PodcastOne

PodcastOne (NASDAQ: PODC) is a leading podcast platform that provides creators and advertisers with a comprehensive 360-degree solution in sales, marketing, public relations, production, and distribution. PodcastOne has surpassed 3.9 billion total downloads with a community of 200 top podcasters, including Adam Carolla, Kaitlyn Bristowe, Jordan Harbinger, LadyGang, A&E’s Cold Case Files, and Varnamtown. PodcastOne has built a distribution network reaching over 1 billion monthly impressions across all channels, including YouTube, Spotify, Apple Podcasts, and iHeartRadio. PodcastOne is also the parent company of PodcastOne Pro which offers fully customizable production packages for brands, professionals, or hobbyists. For more information, visit www.podcastone.com and follow us on Facebook, Instagram, YouTube, and X at @podcastone.

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How Do We Manage? is a podcast that explores how to navigate life, technology and the modern world with the help of expert guests. In a new episode launching on 14th October 2025, to mark Menopause Awareness Month, host Stephanie von Bismarck interviews Dr. Naomi Potter, co-author of the best-selling book Menopausing by Davina McCall, about the myths and misconceptions of menopause.

The episode starts with a short fact-finding session where Dr. Potter defines menopause and perimenopausal symptoms including hot flushes, night sweats and significant mental health challenges. She also speaks about treatment options - from Hormonal Replacement Therapy (HRT) to herbal remedies and lifestyle changes - that can make a real difference.

Dr. Potter, who is the founder of Menopause Care, the UK’s leading menopause clinic, shares why she decided to work in the field of menopause and that until recently, menopause and perimenopause has been unrecognised, misunderstood and dismissed.

“When I was at medical school in the late 90s, there wasn’t any training on menopause - it was just thought of as ‘aging’. Now working on treatment for menopause, it is very satisfying because I know you get transformative results.”

Speaking from personal experience, von Bismarck shares that her mother struggled with peri-menopausal symptoms but, like many women, she was dismissed. As a result, the pair emphasise the importance of education, arguing that girls should learn about menopause in school, alongside reproductive health. Praising the likes of Davina McCall and other public figures who speak openly about menopause, both are hopeful that the stigma is being challenged despite Western culture’s obsession with youth, in particular young women.

Potter also demystifies common misconceptions in a “Fact or Fiction” segment, including whether HRT causes cancer or if women can still get pregnant during peri-menopause.

Dr. Potter’s main message to listeners is: “Don’t just put up with it”. She also encourages men to learn and inform themselves about menopause in order to be better family members and partners who can support women going through a pivotal stage in their life.

The interview is available on How Do We Manage? from Tuesday, 14th October 2025. New episodes are released every Tuesday.

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Today, the International Academy of Digital Arts & Sciences (IADAS) announced the Finalists for the 5th annual Anthem Awards – the largest and most comprehensive social impact award, presented by the Webby Awards. Since launching in 2021, the Anthem Awards have recognized individuals, companies, and organizations whose mission-driven work is creating meaningful change around the world. At a time when many nonprofits, advocacy groups, and purpose-driven brands face growing challenges to their funding and missions, this year’s Finalists stand out for their unwavering commitment to progress and positive change.

Notable Finalists include AARP; Acumen; Ad Council; Andrew Garfield and Sesame Workshop; BYT.NYC; Citi Foundation; Clinton Global Initiative; Cut+Run Editorial; Entertainment 2 Affect Change; Fairtrade America; Google; Headspace; Hollywood IQ; IFC; Katie Couric and the Colorectal Cancer Alliance; Leah Kateb and PETA; Liquid I.V.; Lush Cosmetics; MTV Entertainment Studios; National Geographic Society; New York Jets; Paramount Pictures; PepsiCo Foundation; Physicians for Human Rights; Spotify; Taco Bell Foundation; Teal Media; The Daily Show; The Museum of Modern Art; UNICEF USA; Waves For Water; Whalar Ltd; World Central Kitchen; and World Wildlife Fund.

“In our fifth year of the Anthem Awards, we are celebrating and honoring the true changemakers that are pushing humanity forward, especially amid current challenges,” said Patricia McLoughlin, General Manager of the Anthem Awards. “This year’s cohort of Finalists represents hope, compassion, and inclusivity, and teaches us that when we come together with united action, we can truly make a difference.”

Supporters can cast their votes for this year’s Finalists online at celebrate.anthemawards.com until Thursday, October 30. The for-profit and nonprofit entries in each media type with the greatest amount of support will win the Anthem Community Voice Awards. All Finalists are in the running for Gold, Silver, and Bronze Anthem Awards chosen by judges in the IADAS.

This year’s Anthem Award Finalists were selected from over 2,000 submissions from 42 countries by IADAS. Judges for the awards hail from a diverse group of leaders from across the impact industry and include Nancy Brown, Chief Executive Officer, American Heart Association; Mitu Yilma, Vice President of Content + Brand, Born This Way Foundation; Anjelika Lours’ Kour, Creative Director & Managing Partner, DD.NYC®; Miguel Castro, Head of Global Media Partnerships, Gates Foundation; Belén Frau, Global Communication & Positioning Manager, IKEA; Heather Malenshek, SVP & Chief Marketing Officer, Land O’Lakes, Inc.; Singleton Beato, Global EVP, Chief DEI Officer, McCann Worldgroup; Trovon Williams, Sr. Vice President of Marketing & Communications, NAACP; Lauren Garcimonde-Fisher, Vice President of Brand, Planned Parenthood; Roma McCaig, Chief Public Affairs and Impact Officer, REI Co-op; Erika Soto Lamb, Vice President, Social Impact Strategy, SHOWTIME/MTV Entertainment Studios at Paramount; Brett Peters, Global Lead, TikTok for Good, TikTok; and Michelle Waring, Steward for Sustainability and Everyday Good, Tom’s of Maine; among others.

Winners of the 5th Annual Anthem Awards will be announced on Tuesday, November 18. Fans can watch each Winner’s “Call to Action Speech” in the Anthem Winners Gallery that day at anthemawards.com.

###

About Anthem Awards

Launched in 2021 by The Webby Awards, The Anthem Awards honors the purpose & mission-driven work of people, companies and organizations worldwide. By amplifying the voices that spark global change, we’re defining a new benchmark for impactful work that inspires others to take action in their own communities. The Anthem Awards honors work across seven core causes: Diversity, Equity, Inclusion & Belonging; Education, Art & Culture; Health; Human & Civil Rights; Humanitarian Action & Services; Responsible Technology; and Sustainability, Environment & Climate. This season’s sponsors and partners include AARP, The Bloom, The Social Innovation Summit, Sustainable Brands, NationSwell, and TheFutureParty. The Anthem Awards were founded in partnership with the Ad Council, Born This Way Foundation, Feeding America, Glaad, Mozilla, NAACP, NRDC, WWF, and XQ.

About The Webby Awards

Hailed as the “Internet’s highest honor” by The New York Times, The Webby Awards is the leading international awards organization honoring excellence on the Internet, including Websites & Mobile Sites, Video & Film, Advertising, Media & PR, Podcasts, Social & Games, Apps, Software & Immersive, Creators, and new this year, AI. Established in 1996, The Webby Awards received nearly 13,000 entries from all 50 states and over 70 countries worldwide last year. The Webby Awards are presented by the International Academy of Digital Arts and Sciences (IADAS). Sponsors and partners of The Webby Awards include WP Engine, Meltwater, KPMG, NAACP, WSJ, Fast Company, Deadline, The Hollywood Reporter, Morning Brew, The Hustle, AIGA NY, and The Publish Press.

Find The Anthem Awards Online

Website: www.anthemawards.com

Instagram: @anthemawards

X: @anthemawards

LinkedIn: The Anthem Awards

Facebook: Facebook.com/AnthemAwards

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Audacy today announced it has expanded its strategic partnership with Jenna Fischer and Angela Kinsey’s Office Ladies Network to include sales and distribution for “How We Made Your Mother,” the weekly show flashing back to the groundbreaking, Emmy Award-winning flashback sitcom “How I Made Your Mother” hosted by series star Josh Radnor and co-creator, executive producer, and writer Craig Thomas.

“How I Met Your Mother” ran for 208 episodes on CBS from 2005 to 2014, receiving 30 Emmy Award nominations and 10 wins during its 9-season run, and remains one of the most popular TV comedies worldwide.

On “How We Made Your Mother,” Radnor, who played Ted Mosby, and series co-creator Thomas explore the mystery at the heart of what has made this show so durable and beloved, episode by episode. Every week, they look back on how the show changed them, how it changed its fans, and how it changed the culture, with special guests - including upcoming episodes with Bryan Cranston and Joe Manganiello - joining along the way.

“How We Made Your Mother” will move to Audacy and kick off its second season on Monday, October 20, 2025, everywhere podcasts are available. New episodes will be released weekly on Mondays. Follow and listen to the show here.

In August 2024, Audacy partnered with Jenna Fischer and Angela Kinsey to handle sales, distribution, and production for their award-winning, critically acclaimed hit series “Office Ladies,” as well as sales and distribution for Kendra Adachi’s “The Lazy Genius,” also part of the Office Ladies Network.

“I called Jenna,” explains Josh Radnor, “to talk rewatch podcasts and invite her onto our show to chat about the weird beauty of playing one character for so many years and the next thing I knew, she and Angela were inviting us to collaborate with them. It was the easiest ‘yes’ of my career.”

Craig Thomas adds: “I feel like we all went to TV college together at the same time, and now this is our class reunion…we couldn’t be more honored and excited to be joining forces with Jenna and Angela, the best in the TV rewatch biz!

“We are thrilled to help get the word out about ‘How We Made Your Mother,’” said Jenna Fischer and Angela Kinsey. “Josh and Craig really put their hearts into the podcast. And you can hear it. It’s funny, warm, and thoughtful…just like ‘How I Met Your Mother.’ It’s a great podcast about a great show. And they have a fantastic community of fans. We couldn’t be more excited to welcome them to the Office Ladies Network.”

“Working with Jenna, Angela, and the Office Ladies Network has been a dream, and we couldn’t be more excited to expand our partnership with them and to welcome Josh, Craig, and the ‘How We Made Your Mother’ team to the Audacy family,” said Leah Reis-Dennis, Head of Podcasts, Audacy. “We are huge fans of their work, and the show is a perfect fit as we continue to strengthen our powerful slate of entertainment content for listeners and advertisers alike.”

“How We Made Your Mother” is Executive Produced by Josh Radnor, Craig Thomas, Jenna Fischer, and Angela Kinsey. It’s produced by Alek Lev, co-produced by Doug Matejka, and mixed by Alex Reeves. Colin Anderson is Head of Network Development for The Office Ladies Network.

How We Made Your Mother has also created How You Make a Difference, their permanent fundraising campaign supporting congenital pediatric heart disease research.

Download the cover art for “How We Made Your Mother” here.

Follow “How We Made Your Mother” on Instagram @HowWeMadeYourMother and visit How We Made Your Mother for more information.

About Audacy

Audacy is a leading audio content and entertainment company. As champions of audio, we connect with people in the moments that matter — delivering trusted local news, passionate sports and your favorite music across 220+ radio stations, premium podcasts, live events and digital experiences that reach more than 200 million listeners every month. We create compelling content, foster deeply engaged audiences and deliver outcomes that matter for advertisers. Learn more at www.audacyinc.com and join the conversation on LinkedIn, X, Facebook and Instagram.

About Josh Radnor

Josh Radnor is an actor, writer, director, and musician. Recent television: Hunters (Amazon) opposite Al Pacino and Fleishman is in Trouble (F/X, Hulu). He is best known for his leading role on CBS’ How I Met Your Mother. He wrote and directed two feature films (happythankyoumoreplease & Liberal Arts), both of which premiered at the Sundance Film Festival, the former winning the 2010 Audience Award. Recent theater includes the world premiere of Itamar Moses’ Pulitzer Prize-nominated The Ally at The Public Theater, for which he received a Lucille Lortel Award nomination. Music: One More Then I’ll Let You Go, Eulogy: Volume 1 & Volume 2.

About Craig Thomas

Craig Thomas is a co-creator, executive producer, and writer of How I Met Your Mother, which received 30 Emmy Award nominations and 10 wins in its 9-season run, and remains one of the most popular TV comedies all over the world. Mr. Thomas has written for other TV series, including American Dad! and Late Show with David Letterman. Craig is also an accomplished prose writer, with essays and short stories published in The New Yorker, The Boston Globe, McSweeney’s, and The Iowa Review. His debut novel THAT’S NOT HOW IT HAPPENED—a layered family dramedy set at the high-speed intersection of disability parenthood and Hollywood—will be released by HarperCollins on November 4.

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Catch up on some of Podwires’s recent stories:

• Netflix and Spotify have announced a new partnership, delivering a curated selection of Spotify’s top video podcasts to Netflix.

• The partnership will bring sports, culture, lifestyle and true crime podcasts from Spotify Studios and The Ringer that complement Netflix’s existing programming and unlocks new audiences and wider distribution for the shows.

• This initial selection of titles is just the beginning of the partnership between Netflix and Spotify, which will continue to add more podcasts from various genres and studios.

• Video isn’t just popular, it’s what fans want: according to a Cumulus Media study, 72% of podcast listeners said they prefer shows with video.

• The video podcasts will be available on Netflix in the US in early 2026, with other markets to follow.

• “At Netflix, we’re always looking for new ways to entertain our members, wherever and however they want to watch,” said Lauren Smith, Netflix VP of Content Licensing and Programming Strategy. “With video podcasts on the rise, our partnership with Spotify ensures we bring the full video versions of these top shows to Netflix and Spotify. From pop culture and lifestyle to true crime and sports, this curated selection of video podcasts adds fresh voices and new perspectives to Netflix, making our entertainment lineup more exciting than ever. This offers more choice to creators and unlocks a completely new distribution opportunity.”

• “This partnership marks a new chapter for podcasting,” said Roman Wasenmüller, VP, Head of Podcasts at Spotify. “Together with Netflix, we’re expanding discovery, helping creators reach new audiences and giving fans around the world the chance to experience the stories they love and uncover favorites they never expected. This offers more choice to creators and unlocks a completely new distribution opportunity.”

• Below is a select list of podcasts that will be available initially:

• Sports

  • The Bill Simmons Podcast

  • The Zach Lowe Show

  • The McShay Show

  • Fairway Rollin’

  • The Mismatch

  • The Ringer F1 Show

  • The Ringer Fantasy Football Show

  • The Ringer NFL Show

  • The Ringer NBA Show

• Culture / Lifestyle

  • The Rewatchables

  • The Big Picture

  • The Dave Chang Show

  • The Recipe Club

  • Dissect

• True Crime

• Conspiracy Theories

• Serial Killers

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Catch up on some of Podwires’s recent stories: